#THE. CHARACTER PERSONALITY BUILDING IN OTHERWISE IRRELEVANT EPISODES

[torchickentacos]

So my sister and I were talking and this happened (a masterpiece made in 30 seconds) (long tags)

[bitimdrake]

tried to find your opinion on this by searching young justice show but couldn't find anything so anyways what's your opinion on the show if you've seen it?

I personally love it as an elseword story (idk if I'm using that right) and think it was very creative and well done. I don't really like how Linda was left out but oh well you win some you lose some. (Also hate Cass backstory change so much ughhhhh)

I don't think I've talked about it before! Honestly, I don't think about the show much. I watched uhh three and a half seasons maybe? And then just kind of slipped off it. (I literally don't remember if I watched the episodes with Cass or just heard about them, so I won't comment there.)

I think it's valuable to judge these things both as adaptations and as independent pieces of fiction, so:

as an adaptation

YJTV is not a faithful adaption of the comics universe, but it never purported to be. Dubbing it an Elseworld seems spot on to me. It takes a lot of elements and characters from the original, but thoroughly remixed in a show that is a new story at its core--centering on a team that never existed in comics. And that's fine!

I would have preferred they called the show something else. It's really not a young justice adaptation, and that’s just confused branding. But that's a minor point.

It does bug me the way they utterly changed some characters. Like, why chose to "adapt" comics villain Artemis Crock just to make her a hero with supervillain parents instead of, you know, adapting any of the existing teen heroes who already fit that story? Why "adapt" Cheshire just to make her central story about a family she's never even been related to in comics? Why "adapt" Superboy to make him grumpy angry boy with angst over being unable to fly?

Just. I will never ever understand adaptations using characters in name only. Who is that for?? It means nothing to people who don't know the character already, and it's a disappointment to people who do. You can just make an OC! You're allowed to do that in your new show!

That said, the only thing about YJ as an adaptation that I truly, utterly resent it for is the dynamic with Conner and Clark that has since polluted every fan space, I hate it, the end.

Otherwise, as an adaptation, it's fine! I got some issues with it, but I think it's perfectly legitimate to make an elseworlds type thing with its own narrative identity rather than a strict adaptation.

as a show

i think it sucks. Sorry.

I should say, the first season was solid. With a limited focus on a team of six-ish, it did really well. Good character and team building, good plot work, just generally enjoyable. I liked it a lot!

And then it went off the rails. I am hardly the first person to say it but: this show has too many characters. And imo that problem is so pronounced that it’s not a flaw in an otherwise good show, but completely destroys the whole thing. It has way too many characters. It’s not even in the realm of the right number of characters. And, iirc, it's worse and worse every season.

The other huge flaw in the show became really obvious to me in season...3 I think? And that is absolutely baffling decisions on what to tell and what to show.

This is tied into the too many characters thing--there simply isn’t enough time to show even half of what needs to be shown. But I also remember regularly wondering why on earth one event was deemed irrelevant enough to be a brief slideshow-with-narration sequence, or even glossed over in one line of dialogue, while something seemingly way less important would be played out on screen.

Huge character and relationship development? Eh, throw it in the time skip and reference it later. Key progression that would have gotten the audience invested in a dynamic? Idk say it happened off screen and assume viewers will fill in the blanks themselves. Super cool event where the characters made major plot progression? Just reference it in dialogue so we can jump ahead to this other scene that the creators actually care about.

I just. I couldn’t do it. I’m willing to give leeway to a show and fill in gaps, but I can’t handle being expected to wholesale create attachment to characters and relationships and plotlines and twists all on my own, while the show puts no work into it.

The thing about this show being an adaptation--and I almost put it in the above section--is that it wants all the benefits of being a unique story and all the benefits of being comics-based, and that just doesn’t work. This show expects everyone to have knowledge across the entire DC universe just to watch it, and lazily falls back on that rather than explain things or introduce characters itself. (And I’m saying this as a dedicated comics reader!!!) And it also expects you to read that show-specific tie-in comic, or look up the backstory for this event, or read that one blog post from that one guy that totally explains the important thing that they never bothered to give any time to on the show.

If I were going to try to boil the problems with this show down to one thing, I would say this:

YJTV wants to be its own, unique, massive, sprawling superhero universe, but it’s a fucking half-hour TV show. And there is no stretch of the imagination in which that works.

[hermitdyke]

Please do go off about metanarratives and colaborative storytelling in LL if you want king, my analisys loving heart is curious and interested

Anon thank you so much I was really unsure to share this. Warning for 3L and LL spoilers.

3rd Life and by extension, Last Life is a great example of a Metanarrative and an Emergent Narrative. The definition used of metanarrative for this is “An overarching account or interpretation of events and circumstances that provides a pattern or structure for people’s beliefs and gives meaning to their experiences”. An Emergent Narrative is “any video game storyline that is not written into the game by its developers, but emerges from the player’s interactions with various gameplay subsystems”.

Taking these definitions and placing it in the context of a collaborative Lets-Play series with multiple creators recording and taking part, allows us to analyze a complete storyline and find relevancy and meaning to the things the characters do/say/own, even if seemingly inconsequential from the start.

Multiple Perspectives and Metanarrative

The collaboration of 14 and 17 creators for each series is crucial in understanding how the story functions as it does. The individual’s viewing of a single point of view or POV of any single player reveals an amount of new information, interactions, and conflicts. The viewer’s knowledge of the single character’s experiences is about the same. When viewing multiple perspectives, the story expands significantly, showing different relationships between everyone and provides context to events that one may not have seen in the single POV.

For example, in viewing Impulse’s finale episode for 3rd Life, viewers may be confused or lost on why Bdubs attacked and took Impulse’s final life over a clock that Scar had given him. If the viewer had not seen Bdub’s first episode, they would not have realized the relevance between Bdubs and Scar with a clock, being that one was given to him at the very beginning from Scar during an early mining session. Viewers would also not know unless they had viewed Scar’s finale that the clock that was given to Bdubs was taken off of Impulse after losing his yellow life.

Immediately, the lack of viewership on multiple perspectives limits the scope on why the event is relevant, and the viewer may find the story ending dissatisfying, when in fact it is incredibly false. The cross-analysis of perspectives and events gives meaning to this otherwise simple event and forms a narrative from a simple item in the game- an Emergent Narrative.

Emergent Narratives, Lives, and Boogeymen

The term “subsystems” in the definition of Emergent Narratives is another way of describing a game’s mechanics. 3rd Life and Last Life differs from vanilla Minecraft in that they’re playing in a limited life, hardcore system, with the random threat of the Boogeyman and a proximity voice-mod. Without these, the narrative would be dramatically different, although it is possible to form an Emergent Narrative using vanilla Minecraft (DSMP!Eret’s Betrayal is a popular example). Because of these features and players interacting using these features, a narrative emerges from what in any casual Lets Play, could be considered a “bit”. This is what makes 3rd Life and Last Life stand out.

In 3rd Life, an emergent narrative is formed when Ren asks Martyn to kill him, despite Martyn being green and him being yellow. Ren’s use of the red life mechanic provided him a way to protect Renchanting under the threat and pressure of Scar. Ren (the player) judged being able to attack anyone at will overruled the safety of having multiple lives, and that he now poses as a new threat to the server. They also use a vanilla mechanic in renaming the Red Winter axe so all members could recognize their newfound power and creating a desirable item in their alliance. In “proving his loyalty”, Martyn and Ren’s storyline really kicks off and starts to conflict with the other members as a new power on the server.

A recent example in Last Life is from Scar’s perspective and goes to show just how possible it is that Last Life can/will follow a similar route as its counterpart. Bdubs in his first episode asks Etho, “if you were the Boogeyman and I died to a mob in here, would you be like, ‘man”, is that a consideration you’d make?”, “..like I missed my chance, should’ve taken them when I could. (Timestamp: Bdubs Last Life Episode 1, 17:20-17:38)

This is ironic, considering that Bdubs at the time was the Boogeyman. An episode later, one of the two boogeymen of the session, Joel leads Lizzie into a trap, getting in a few hits, only to fail and lose a life himself. The damage that he dealt to Lizzie weakened her was only after killed by a mob, and brings the scenario Bdubs suggested into reality.

Without the use of the limited lives, Boogeyman system, and the limited Enchanting table resource, this narrative thread would not have worked. And in the Metanarrative of the story, unless the viewers both viewed Bdub’s and Joel/Lizzie’s perspectives, they would not have found relevancy in this scenario.

Lack of Script

The most important part of the Metanarrative and Emergent Narrative is that no one knows that these events are important or are going to amount to something in the end. It is the viewer’s knowledge and creators’ forethought of the series to see the narrative emerge from just a couple of friends playing a video game and starting a war, to developed characters with an overarching storyline in a limited episode run. At the start, none of the stories was intentional. The individual’s interpretation of the events and forming these connections between one or more perspectives is the real storyline, and if the creator wants to support this discovered story, they can (Martyn and Scott’s 3L endings).

A great example of this inability to script events is in Bdubs’ 3rd Lift perspective. In his first episode, he passes by a cliff face with a pond below. As he approaches and looks down the cliff, he says, “Nobodies against each other, y’know, it’s just kinda hanging out.” As he passes by and down the hill, “Eventually, once we get down lower, like once you’re on your third life, I think then its vengeance time.” (Timestamp: Bdubs 3L Episode 1, 12:41- 12:51)

Because of his experiences and the events unfolding in 3rd Life, the irony is not lost when he is killed just at the bottom of the exact same cliff by Grian and Scar as revenge. These seemingly irrelevant events in the moment form patterns across the entire series, with some underdeveloped locations, suddenly becoming relevant. A seemingly irrelevant moment is now much darker and holds so much more meaning to the character.

What does this mean for Last Life’s story? Is there an Emerging Metanarrative?

Narratives can be found anywhere, and in collaboratively playing an open-world sandbox game, there’s almost no avoiding it. With the start of Last Life, any of these seemingly casual conversations or collected items could have any sort of meaning in the future. This happened in Scar’s episode this week where he worries that he’ll drop from 5 to 1 life and get boogeyman “Oh no- we’re gonna lose all of our lives, aren’t we? We have five lives and by the end of this I’m gonna be a red life.”(Timestamp: Scars LL Episode 2, 4:54-4:59)

Only in the end, for both him and Joel to be Boogeymen, and for Joel to drop to red and lose his alliance with Scar. The catastrophe of the episode essentially avoided Scar, even though he was constantly at the forefront of the conflict. These small off comments, seemingly inconsequential are now made relevant and active conflicts between the characters.

And there’s plenty more of these events across 3rd Life, and predicting what is to come is nearly impossible (though I do have my own ideas).

-Comments made towards Etho’s tree and wool base, only for both to be burned multiple times, and all of Etho’s deaths being related to fire.

-Martyn to BigB in early episodes, wanting to track down Ren and their relationship and building of Renchanting/Dogwarts

(Personal theory- there are currently 3 wither skulls on the last life server, belonging to Grian, Etho, and Pearl/Scott. Currently, they are irrelevant, but there are THREE WITHER SKULLS, with the entire server having easy access to soulsand.)

[ifeelallwrite]

Let’s talk about Hospital Playlist. (KDRAMA REVIEW)

note: does contain spoilers

When people ask me what is my favorite Korean drama of all time, with no doubt, IT’S HOSPITAL PLAYLIST. This drama has the comic relief, the emotional scenes, realistic characters-just to name a few. No toxic relationships and petty revenge fights. Nothing else will stop me for saying that this is the ultimate feel good drama.

SYNOPSIS: The drama shows insights into the daily lives of doctors and nurses working at Yulje Medical Hospital. It focuses on 5 doctors who have been friends since medical school, who also play together as a band.

This drama encompasses so many elements and characters so bear with me yo this might be real long 

Hospital Playlist is produced/written by the Shin-Lee PD and writer pairing, whose previous works were the renowned Reply trilogy and Prison Playbook (which are *chef’s kiss*) I really like that all their dramas really highlight humanism, and puts emphasis on creating a heartwarming and realistic series. There isn’t always a major conflict to be resolved, but instead it showcases how different people-in this case mostly those in the medical field-go on about their daily lives.  I also liked their reasoning to produce a medical drama which was that hospitals were where the most dramatic moments occurred, for example during births, deaths or sickness. And since we are still in the Covid-19 pandemic, it ties in greatly to be paying homage to all the medical personnel saving lives. Hence, props to those who were involved in this meaningful masterpiece <3

The drama is not the usual 16 episodes, but has 12 episodes for each season (SEASON 2 IS COMING SOON YAAS) Good thing is I felt that they were still able to weave a dynamic storyline in the first season even with lesser episodes. The writing was just top-notch with the witty humor bits. Additionally, the music is AMAZING. I love the concept of the main characters being a band and playing different songs every episode too.

Okay, now onto the characters. I thought that every character in this drama was well rounded. Starting of with the main five characters, also known as The 99ers, whose distinctive personalities and natural chemistry make all of them extremely likeable. All main characters are professors of different specialties, and I find the male OB-GYN (Seokhyeong) and female neurosurgeon (Songhwa) very refreshing. Also, I like Shin-Lee dramas always have characters that might be realistic yet hardly seen in other dramas or films. For example, Professor Ahn Jeongwon. Despite being a chaebol (inheritor/heir), he isn’t depicted as a spoilt brat or a cold character, instead as a warm Pediatric doctor who uses his wealth to secretly support patients in need. However it makes him stingy to his friends LOL

To be honest, I really thought I was gonna dislike Junwan due to his cold and tsundere nature. I pretty much believed that he was going to be the party pooper type of the bunch, but with the writer being a master of character development, he turned out to be really sincere and hilarious at times. Same for Ikjun, who apart from his enthusiastic and happy go lucky exterior, cares the most about the people around him. Although Seokhyeong seemed detached and introverted, he shows a emotional side to his friends as well as his mother. Songhwa is literally a girlboss though haha she’s smart, capable and gets along with everyone well. And she’s the most sane out of the bunch. 

With all the main characters, we have the relationships. Junwan is the first to date seriously with Iksun (the dog or Micky? jkjk) who is Ikjun’s sister. When it first happened I was like not again Jung Kyung Ho (bc he dated his best friend’s sis in prison playbook too LMAO) I think their relationship was realistic and open. It also showed a more sensitive side to Junwan who would do anything for her. I especially liked how he said he didn’t need access to her phone because he trusted her. Yet as all couples do, they have their fair share of ups and downs. Like conflicts on getting married and a long distance relationship as Iksun moves overseas for graduate studies. I don’t really know how to take the ambiguous ending for these two, as Junwan receives the returned box (that has the ring he sent) I really hope nothing bad happens to these two though.

I’m sure we all love Wintergarden couple though, tbh they’re kinda my OTP at the moment 🤣 It was pretty much a ‘will they won’t they’ relationship with a relatively slow build. I think Gyeoul turned out to be one of my favourite characters. Shin Hyun Been did a good job at portraying her as a straightforward but innocent Resident, who is pretty much openly crushing on Jeongwon. The scenes they had together were adorably awkward (and the scene where he gives her chocopies omg) And when Jeongwon battles his inner conflict to become a priest, the final decision where they kiss was beautifully shot, with the actors both showcasing their emotions extremely well. 

Then we have Chihong who pursues Songhwa, his professor. Midway through the drama, it is also shown that Ikjun and Songhwa might have had romantic feelings for each other. Songhwa ends up rejecting Chihong’s confession. In my opinion, Chihong was quite a interesting character but I didn’t really like him at the end. (I like the actor though) He did a real jerk move during drinking games, insisting on Ikjun to confess his feelings towards her even though he is already trying not to put Songhwa in an awkward spot. Although his character did end up making a cool exit and when I thought about his incredible story of soldier to doctor, I kinda regret disliking him that much. As for IkSong, In the final episode Ikjun confesses to her one last time, and we are left waiting for Songhwa’s reply. As much as I love this pairing, I don’t think that the ship will sail or maybe not as quickly as we think. I believe Songhwa would meticulously consider the sacrifices to their friendship or other aspects and might not be able to bring herself to it, but I hope it’s otherwise. 

Lastly not forgetting Seokhyeong and Minha, another Professor+resident pairing. This one’s a bit ambiguous though, mainly because there hasn’t been much romantic development. To me, the most impactful scene came from Minha who had been irritated by continuous night shifts and was on the verge of a breakdown. She ended up remarkably saving a patient, starting off surgery on her own for the first time. Oh man Minha was such a lovable character, I remember feeling so bad for her but extremely proud of her for her accomplishment. Although Seokhyeong seemed a bit aloof and distant (which was intentional bc he’s an introvert) I think the backstory and all the hardships he faced with his family really made me feel for him. I hate to break it to you, but I’m not so sure if the ship will sail because of the phone call from his ex-wife and Minha’s somewhat rejected confession. But who knows, they might pull off a twist 👀

Apart from all these characters, there are more characters HHAHAH However, I think this is the killing point of ShinLee dramas. Unlike typical dramas which usually focuses on a main character and 2-3 side characters, they like to cast a diverse range of actors (especially those from theatre/musicals and lesser known drama/movie actors) while actually give their characters personality or a reason to be there. I’ve seen many dramas where extras or side characters were kind of irrelevant thus making me feel that they weren’t needed to build the storyline, yet ShinLee dramas hit different y’all. Every role, no matter how small, holds significance to the drama. It really seemed like a collaborative work that shows off every actors skills (and not forgetting staffs) and teamwork.

Anyways because there are way too many characters and too many scenes for me to mention them all, I’ll just talk about some honourable mentions heheh

1. Sunbin and Seokmin confession scene (ahh so cute)

I kinda sensed that they liked each other at the start but I didn’t know Seokmin would ask her out on a date at the end. Even though it’s kinda awkward that they are dating and working with each other though (both are in the same department) but hey the confession was cute and awkward and just warm and fuzzy 🥰

2. MAMA ROSA IS THE QUEENN

I think we all (would) love Mama Rosa because she’s a real one ☝️ (probably the coolest mother ever) She’s feisty, hilarious and kind to others. Plus her friendship with Ju Jong Su was just adorable and super wholesome. The scenes where they were supporting one another through tough times and hanging out with each other when they felt lonely always put a smile on my face. Oh and how Mama Rosa treated Gyeoul was extremely sweet. (as well as Seokhyeong’s mother) Despite her tough exterior, she’s a likeable character for being a strong but caring woman.

3. Just Do Jae Hak

I seriously love this guy so muchhh omg he’s so funny

Do Jae Hak has a funny amd clumsy personality, though it’s clear he’s been through a lot and is strong willed person. From admitting his indecisiveness to counselling Jun Wan on his love issues, there’s literally nothing to hate about him.

4. Uju and his dadd

The father and son chemistry between these two is so good omg. The scenes with these two are so adorable and heartwarming (not to mention hilarious) It’s amazing to see how Ikjun cares so much for Uju despite his hectic workdays while going through infidelity issues with his ex-wife. Uju is matured for his age and shows his love and appreciation for his dad too, making their interaction a great portrayal of a healthy family relationship💞

5. the food stealing the show🥘

Who doesn’t love food and when a show has great food scenes? Some of the best scenes are definitely when the 99s gather to eat. It really showcases each character’s personality with the tiniest details as well as highlight warm delicious meals. Just don’t watch this when you’re hungry at 2am in the morning guys you’ll be drooling all over your screens HAHAHA

Of course there are way more aspects, like Hongdo and Yoonbok, Ikjun and Iksun’s pigeon jokes and raps, or Jeongwon drunk crying in the chicken shop with his brother (who was his coach in Reply 1994 when he played Chilbong LOL)

Most importantly, I think it is the themes and messages that you get from the drama that really create such a lasting impression. Not only does it hit you in the feels with the hardships of hospital patients, or the hardworking doctors+nurses who are working long shifts saving lives, it also tackles topics of friendships through the possibilities of platonic and friends-to-lovers relationships. However I think the biggest lesson for me came from Seokhyeong, who learns to live his life doing what he want, with the people he treasures. Although the drama might seem slow at times (mainly because there isn’t really a main plot line/conflict occurring), but this drama would still bring you on a journey where you would laugh, cry and finish the series, begging for season 2 ✌🏻

[rachelbethhines]

Tangled Salt Marathon - The Return of the King

So we’re back to the quasi-filler stuff. This episode does set a few things up for the finale, like bringing Edmund to Corona, but none of those things are actually good and it’s still mostly filled with irrelevant shit alongside the more important stuff. 

Summary: King Edmund arrives in Corona to see his long-lost son, Eugene, and to give him the royal sash of their bloodline. Eugene wants nothing to do with him, but Rapunzel invites him to stay. Later, the sash is stolen and a ransom note is left behind. Edmund and Eugene decide to go and retrieve it. Meanwhile, the Stabbington Brothers plot revenge on Eugene as they are both viewed as a joke by the other criminals.

So How Did the Stabbingtons Escape the Prison Barge 

Last we saw them they were stuck on a prison barge along with Lady Caine and all of the other season one villains. How did they escape? Did Lady Caine or anybody else make it out? If so then where are they this season? 

We’re not going to get any of those questions answered are we? 

Man this is just sloppy continuity. Which ironic, because these two were only brought back this season because of continuity. They need to be “redeemed” so that they can be at the wedding. I guess it just sucks to be you if you’re an original villain for this show and not named Cassandra. 

Why Is This Deserving of Ridicule? 

Like...We’re talking about a world renowned thief and adventurer and his magical royal girlfriend who are well known enough outside of Corona to be mentioned and there for no doubt people know how they both defeated monsters, daemons, and several criminals besides just there two guys, right? 

This plot point makes no sense. 

You could just kick these dumbasses butts and be done with it. I doubt they’d bother picking on you again if you did.  

Did we really need even more motivation for them to want revenged against Eugene?

Rapunzel is Back to Being Her Bossy Self 

Rapunzel has not earned the role of “wise administrator” yet. She’s only been out of the tower for two years now and she has yet to prove to the audience that she has managed to learn anything since then. By jumping the gun and forcing her into a role that she hasn’t grown into, and by ignoring that this whole show started out as a coming of age story, it just makes Rapunzel unpleasant to be around. All her “advice” is just her ordering people about with a veneer of chipperness to try and mask her controlling nature. People who should know more about their own lives than she does and have no reason to listen to her.  

So We’re Showing Rapunzel Being Responsible... By Having Her Avoid Responsibility? 

Part of why the writers made her “acting queen” for the first half the season was to get her to grow into the role of becoming full time queen. However they screwed this up by not having her actually learn anything and having her avoid the real duties a queen preforms. 

What Rapunzel is doing her is just being a socialite busybody. The only administrative thing she does is approve some low-scale building plans for a small business. A thing that would have been handled by a lower official in an actual functioning government.   

Once again Rapunzel is being selfish and doing what she like, ie bossy people around while having them kiss her ass, as the real work of running the kingdom is left to someone else. This isn’t being responsible, it’s being hypocritical, but don't expect anyone to ever call Rapunzel out for this. 

Pointless Action Scene is Pointless

At this point, the low stakes action sequences are just cringe. Like is this an adventure show or not people? Stop forcing crap like this and give us some real conflicts instead.  

How Did You Get Here So Fast Edmund?

It took Rapunzel and company nearly a year to get to the Dark Kingdom. Even if Edmund wasn't delayed with pit stops like they were, it would have still taken him several months to get here by horse. 

Did he take a boat, or have four to six months already past since Rapunzel’s Return? 

I would argue that this episode was aired out of order and should have been later in the season, but Cassandra’s appearance at the end of this story, and Hamnuel’s appearances in later episodes, would suggest otherwise. 

Crap like this is why season’s three timeline doesn’t work unless you stretch everything out to two years instead of one. 

Read the Room Rapunzel

One could argue that Rapunzel is just trying to be polite, but that doesn't really hold water. 

For starters Eugene is clearly upset and has every right to want to set boundaries between himself and Edmund. Ignoring that is incredibly rude and if my significant other ever did such a thing, well they wouldn’t be my significant other for very long. 

Secondly, Rapunzel could have offered other accommodations if she felt pressured to be polite to Edmund. Not only are their lots of inns in a port town known for trade, many of which are probably well-to-do, but there’s also that convent that was mentioned back in season one. It has to be somewhere in Corona itself and as the so far only mentioned major religious organization in the country it would no doubt have stately quarters for when royalty and nobility would visit. 

So not only would it be a suitable place for a visiting king to stay in, as it would be made for such things, but it’s also far enough away that Eugene wouldn’t feel like his space is being invaded but close enough that Edmund could come and go as he pleases. 

By that point it’s still between Edmund and Eugene and Rapunzel can stay out of it, like she should. 

Eugene is Right

These are all valid reasons for cutting someone out of your life. Furthermore, you don’t even need a reason. If you don’t want to associate with somebody then just don't associate with. It’s your life. You don’t have to justify how you choose to live it and people who actually care about you should respect that. 

Unfortunately no one respects Eugene.  

Not Edmund, not Rapunzel, and most certainly not the writers. 

Then Why Don't You Get Closer to Edmund, Rapunzel?

I understand Rapunzel’s viewpoint here. Edmund is the only person she’s ever met who has experienced the same isolation that she has. He’s one of the very few people whom she can empathize with. 

However that doesn’t give her the right to force her views upon her boyfriend. If she cared so much than she could just befriend Edmund herself and leave Eugene out of it. 

Trying to encourage a child to have relationship with a parent who neglected them is super tone deaf at best and outright disrespectful at worst. It’s also highly hypocritical seeing as Rapunzel cut Gothel out of her life for similar reasons and Eugene only ever supported her for it. 

No really, flip the situation. If Eugene tried to encourage Rapunzel to give Gothel a second chance everyone would be slamming him for it. So why does Rapunzel get a free pass? 

Shorty Already Did That, Eugene. Don’t You Remember? 

I mean, you were literally right there when it happened. Are we forgetting season two the same as season one now? 

So Why Are Stan and Pete Suddenly Back, But Not Cap?

I mean we went through all that trouble in Rapunzel’s Return to write them out of the narrative and here they are without any explanation. Why are simple set ups so dang hard for this show? 

Rapunzel is Overstepping Her Bounds Here

Ok, giving Edmund a place to stay is one thing. Suggesting to Eugene that he should give Edmund a chance is not appropriate but still forgivable. But this? 

This crosses a fucking line! 

Eugene is not Rapunzel’s subject. He’s her boyfriend, and a prince in his own right. Rapunzel can’t just volunteer him for crap without his consent. That’s just indirectly ordering him about like she would a servant.  

Once again, flip the script. If Eugene tried to force Rapunzel to work with Gothel everyone would be up in arms. Why is this then deemed okay? 

This is Coercion

Not only is Edmund and Rapunzel trying to guilt trip Eugene here but she even fucking elbows him!

Like this isn’t “cute couple bickering” here. That kind of stuff is reserved only for inconsequential shit. 

This a woman trying to strong arm and guilt trip her husband to be into having a relationship with his abusive father! Because guess what? Neglect is still abuse! 

Rapunzel has zero say in Eugene and Edmund’s relationship. It’s none of her fucking business! Trying to force her into this plot just makes her look like an asshat. 

I mean look at this smug smile! The fucking bitch is proud of being a shit human being and a terrible girlfriend. 

And of course don't expect the show to call out this behavior as wrong because of out of date sexist double standards. If you think any of this is okay then just role reverse Eugene and Rapunzel here and then tell me its still alright. 

The Show Missed a Real Trick By Not Naming Him Horus Instead

Horus, the sun god, would have been a nice bit of irony and given meaning to the name while keeping the joke virtually unchanged. You could have had both lore and a punchline. 

And I would argue that the joke as is, isn’t even funny. Horace is indeed a lame name, but not for the reason that the show gives. It’s lame because it’s not unique enough. There’s already a Disney character named Horace and I’m sure there are real people out there with that name as well since it’s not completely unheard of. So the joke falls flat and winds up insulting anyone with that name. 

Don’t Expect Any Pay Off for Eugene’s Identity Issues This Season

Yeah the show makes a big deal out of Eugene having a mid-life crisis through out season three, but then never resolves it in any meaningful way. 

Edmund Is an Asshole 

I don’t care how “crazy” he is. Calling someone by a name they don't wished to be called is just plain rude. Acknowledging someone’s preferred name is just a basic common courtesy that is expected of everyone. Once again, this isn’t funny, quirky, nor charming, just unpleasant. 

So the Animators Wasted a Model on a No-Named Character Who Only Appears Once

Someone said this little girl appears in season one, but it’s not noticeable if she does. She also doesn’t have a name and this is her only speaking role. What a waste of money. Just have one of the braided girls from the movie instead. You already built models for them and haven’t really used them. 

And before some mentions race here, this is poor rep already cause the character has no impact. 

Turns Out, Varian Didn’t Even Need Those Truth Serum Cookies

Not only does this dumb down Pete to a ridiculous degree, but it also invalidates everything Varian went through in The Alchemist Returns and the grief he got from everyone for using the truth serum. 

Oh, and it’s also lazy writing and a plot contrivance.  

That’s Not Figgy Pudding!

This is Figgy Pudding.

It’s a boiled “pudding” that’s more like a cake with dried fruit in it. During the 14th through 18th centuries such bread puddings were made to be carried around in ones pocket or knapsack for eating on the go. They’re nothing like the creamy custards we call puddings today. 

It also looks nothing like what’s shown on the screen below. 

That’s like a half eaten loaf of wheat bread?  

That’s jelly filled .. apparently...?

Once Again, If You Have to Make Everyone Else Incompetent to Make Your Hero Useful to the Plot Then You Need a New Plot

Rapunzel has zero business in this plot. She doesn’t even need to be in this episode beyond a cameo. Trying to cram her into the protagonist role in a conflict that doesn’t involve her is just a disservice to everyone.  

Winnie The Pooh Is More Mature Than This Show

More of that meta commentary I was talking about last episode, and it just as full of shit as ever. 

Seriously Find Her, Keep Her is the best script I have ever seen in any show. It’s perfectly balanced so that anyone of any age can relate to it. It’s real and heartbreaking and perfectly suitable for small children to understand. There’s no shock value, no darkness, no modern satire, but its far more mature and complex and deep than anything TTS has tried. 

Also Rabbit is a far better father than any dad in this show, while still being cut from the same trope. There’s no shame in being a children’s show when its done well and this now 30 year old kids show runs rings around what ever mess Tangled is trying to sell. 

Eugene Isn’t Exaggerating Here and I Don't Know How to Feel About That

Turns out Eugene did grow up with these guys the same as he did with Lance. It’ll be confirmed only two episodes later. That just recontextualizes everything. He didn’t just betray some rando guys that he held no feelings for, he betrayed people that he’s known and worked with since childhood. 

Now just because he’s known them doesn’t mean that they were family to him like Lance, but like the fact that he keeps claiming then as such through out the episode would suggest that perhaps they were like siblings. 

That’s ... ingenious. That makes Flynn Rider retroactively an even worse person and gives the Stabbingtons real reason for vengeance. 

Only the show doesn't do anything with this!  It just makes Eugene an even bigger jerk in the movie for zero reason. 

Let Me Reiterate, Edmund Is an Asshole 

Just like with Frederic, Cassandra, and Rapunzel the show uses framing to try and make the audience side with people who do unforgivable things. 

Edmund is an abuser. He neglected his own son for 25 years. But the show presents him as “funny” and “quriky” and “look at his pouty face, he’s so lonely”.... 

No!

Edmund isn’t deserving of anything and how he treats Eugene here is garbage. 

This show is utter crap writing wise but boy does it know how to gaslight its own audience into siding with bullies and abusers.  

Eugene Is One Thousand Percent In the Right Here, But Don’t Expect the Narrative to Acknowledge That

There’s nothing you can do to make up for that. 

Eugene might forgive him. Eugene might move on from it. Eugene might decide a relationship it still worth having with Edmund. But the horrible thing still happened and it happened because Edmund allowed it to happen. There’s no going back from that and everything going forward has to be on Eugene’s terms alone. 

But the narrative won't allow Eugene that agency. 

Even as he makes his grand proclamation about being done with Edmund the cameras chooses to focus on Edmund and his feelings. The story is already priming the audience to prioritize Edmund over Eugene so that when the forced and contrived forgiveness scene comes we won't question it. But it only comes because Chris doesn’t deem Eugene as individual person with thoughts and feels of his own, but as an avatar to fulfill his wishfulment fantasy regarding his own personal daddy issues. 

Rapunzel’s Characterization in Season Three is Just....Off

Ok, even ignoring the major stuff, like not recognizing what she’s done wrong, putting her into roles she’s not meant to carry, and making her a shitty girlfriend suddenly, Rapunzel just behaves contrary to her character all through out season three even in small subtle ways like here. 

On the surface this seems like a clever call back to Great Expotations, but lets examine more closely, shall we. 

On one end we have yo-yos; an invention that’s been around since ancient Greece and is so wide spread across the globe that the word “yo-yo” itself is theorized to come from Indonesia and the Philippines.

On the other end there is Rapunzel. A woman who spent 18 years isolated inside of a tower, because of this she is both ignorant of somethings and insatiability curious and eager to learn.  Or at least she was, until striking out onto a year long road trip, and having now been out of the tower for only two years, claims to know better than the entire fucking world about this object who’s existence she didn’t even know about until only a year and half ago! 

Like what kind of sense does this make? Why would you abandon the core of her drive and motivation, to learn, explore, and grow, and then call it “development”? 

How Did Edmund Get Beat By These Guys?

Edmund took out Adria. The Brotherhood is suppose to be the best physical fighters in this world and Edmund is supposed to be best out of all of them. Yet he’s taken out by two random, mediocre dudes who didn't even jump him. They gave him time to respond and he stood up to fight them. 

Was all his physical prowess tied into that axe? Is the axe magic? 

If you characters have to be depowered for unexplained reasons for the plot to work than you haven’t a good plot. 

This Isn’t as Heartwarming as You Think It Is Show

If Edmund knew where Eugene was this whole time then he could have actually provided for his son. He could have arranged adoption with someone by letter, sent money, food, clothes, ect, maybe even wrote to Eugene directly and kept up a long distance relationship to be there for him emotionally. 

There is literally no excuse anymore for Edmund to hide behind. He literally neglected his duties as a parent, just cause. 

Finding these things shouldn’t make Eugene happy. Finding these things should piss him off even further because that’s how any logical adult would respond to this bullcrap. 

I sure know I’m angry. I’m angry that Eugene is a pawn for the creators’ writing wank-off rather then being treated as human being; as an actual character. 

“Nice” Isn’t the Same Thing as Kind, Rapunzel

One could argue that she’s not even superficially nice in season three, but the real problem here is that the show, and by extension Rapunzel herself, doesn’t understand the difference between being “pleasant” and actually being a good person. Outwardly polite people can stab you in the back, can kill you even, and not care, as Rapunzel has demonstrated repeatedly since season one.   

Do They Have to Be “Family” for Eugene to Give a Damn? 

Can’t Eugene just do the right thing, because it’s the right thing to do? People don't need to be friends and family to care about each others lives. Kindness isn’t transactional. Empathy and true charity doesn’t come with strings attached. If Eugene’s whole arc is about becoming a better person, then making the Stabbingtons “family” kind of undermines this. 

Don’t Reward the Dude for Doing the Bare Fucking Minimal 

No seriously. Edmund forfeited the right to ever be called “dad” by Eugene a long fucking time ago. He doesn’t get to be called that now just because he stopped being a piece of scum and showed the bare minimal of human decency. Even if Eugene decides to have a relationship with Edmund after this, it doesn’t mean that  he has to be recognized as his dad or that that relationship will be a parental one.  

Eugene, and by Extension the Show, Places Rapunzel Upon a Pedestal to  the Detriment of All

Only 4 villains out of 20 get redeemed in this show. Four, and yes I’m counting the Stabbintions as one entity here. That’s 16 times Rapunzel failed to give someone a second chance just cause she didn’t feel like it that day, and even here she did fuck all in trying to give the Stabbingtons any sort of chance. That was all on Eugene. 

The more this show goes on, the more it looks like Eugene is just in love with the idea of Rapunzel rather than who she actually is as a person. It’s a disservice to both their characters but it damages Rapunzel most of all because the show perpetuates this over idealization to everyone she interacts with. 

It’s really sickening to watch and terrifying to know that some uphold this selfish brat as a “role model” for little girls. There’s nothing empowering in being an inhuman “goddess” who can do no wrong....even as they do several wrongs and never gets called out on it.    

This Isn’t “Cute”

Eugene can’t even have an opinion on a fucking toy!

Look if you still like New Dream despite how horribly written it is this season, then good for you. That is completely understandable, especially since this is mainly a problem with season three and not really in the first two seasons and certainly not in the movie. 

But if you try to deny that they aren’t toxic in season three, that people who do have problems with how they’re written aren’t valid in their concerns, than you’re either someone who hasn’t been paying attention or someone who has gross double standards for women in relationships. 

This Scene Is A Waste of Time

This doesn’t tell the audience anything. It contradicts what was previously established concerning her powers without explanation and then just throws the creepy girl voice in there for a lazy hook. It doesn’t work at foreshadowing since we repeat this info all over again in the next episode and it doesn’t expand upon neither Zhan Tiri’s nor Cassandra’s characters.

 In fact it kind of contradicts Cassandra’s characterization in the last episode as well. Is she a remorseless bad bitch or a vulnerable woobie? She can’t be both. Not in the way show is going about it anyways. 

It’s poor time management and poor storytelling. 

Conclusion

It was mildly better than Rapunzel’s Return, but that’s not saying much. Everyone’s character is still circling the drain and there’s no escape line in sight. 

But before I close out, here is a real world update. I had to quit my job at Amazon for personal reasons and am currently job hunting. I’m not hurting right now, I do have money saved up to cover me for at least a month and I’ve been doing commissions here and there, however despite having more time technically to write these reviews, I’m now having to juggle it along with artwork and job hunting. 

If you would like to support my reviews and other personal projects you can send me a tip over at Ko-Fi and more public commissions will be opening soon over there as well.  

https://ko-fi.com/rachelbethhines

[just-like-playing-tag]

aaaaaaa okay i just watched the new episode and im so curious about how theyre going to handle the rest of this arc? you always have really good takes so i was wondering what your thoughts were!! bunkerman is such an important character in this part of the story, it seems like they cant cut him out entirely????so where is he!!!

~ Sorry for the late answer, I kept procrastinating writing my thoughts because I knew this would have turned out to be long ahah ~

Thank you for the compliments, I'm flattered!!! Tho I doubt I will be of great help, I feel like I'm lost at sea ¯\_(ツ)_/¯ But I'll do my best!!!

First of all, I'd want to point out that, as of now, I'm confident they will not cut Bunkerman and Goldy Pond off the plot. Goldy Pond is a strong and solid arc that I'm sure received a positive response from SJ readers while it was on going; once it's animated, the anime will be completed of the action that has so far been lacking. As for Bunkerman, in the Shounen Jump's tpn popularity polls he earned 16th and 7th place, which makes me think he's fairly popular. His presence adds a very nice twist to the plot: not only he's the first male adult we see; even though he doesn't side with demons, he's still hostile to the children, which comes off as very surprising to the reader / watcher (and builds up to how Andrew and later the whole Ratri clan will persecute them, introducing the aspect that not all humans on the outside are their friends). Additionally, he is the first character to help build up the theme that Emma is not only going to help her friends and family, but also her enemies, which puts the basis of her character development and her decision to save all the demons and mamas. Moreover: how people have already pointed out, Bunkerman has also a very important role as representing the “what-if” version of the children, as showed in chapter 177:

His character has a very poignant role, as he's revealed to have a very tragic backstory: his story consolidates the cruelty of the world they live in, which is a main theme of tpn, and the way it's ultimately revealed how the children saved his life and gave him the chance to start living again comes to the viewer as extremely moving.

To sum up, he's too much of a great character to be omitted- they're not going to have all that great potential go to waste. His character development and personal growth is too powerful to be thrown away, and I refuse to believe they will (I'm going through chapter 109 again after a long time and I'm getting a little emotional :')

So next up is when we're going to see him, right? I doubt it is going to be soon. My guesses are that he'll show up either in the second half of the season, or even at the very end as teasing for an eventual following season.

The conditions in which the children have found the shelter unsettle me. The shelter confuses me so much, because things simply don't add up. If Bunkerman and his friends have already been there, then why Minerva's letter is still hanging there, unopened. On the opposite, if they have never been there, then that doesn't explain the cookies, which are a clear wink to manga readers, nor the scratched room. I'm confused, because these elements just aren't coherent with each other, and that makes me uneasy. I'd exclude that the Glory Bell escapees didn't open the letter, or that a Minerva supporter came back and placed a new one, but then again those elements really don't make any sense? Any that I can understand anyway- I hope they'll come up with a good explanation in the next episosodes.

Back to why I don't think Bunkerman will show up in the next episodes: several elements from the shelter make me think that. The most evident is obviously the rotten cookies. If he's just out hunting, and he usually lives in the shelter, then I don't see why he would keep those moldy biscuits (if not to commemorate his comrades? Dunnot). Besides, the shelter as for how it's been displayed seems to have not been inhabited for a long time: all the crockery was neatly placed; besides from the biscuits, there was not a single hint of people living or having lived there like the food we saw in the manga- if there had been, the children would have surely noticed. Again, that confuses me. Everything is perfectly tidy and clean, making it more similar to the untouched, neat shelter the Glory Bell escapees found when they arrived there for the first time- except for a conveniently scratched room? Isn't that weird that the room and the biscuits are the very only hint that somebody has been there before? But I'm digressing.

Other things that make me think Bunkerman is not going to show up: the children are learning everything on their own. There won't be Bunkerman to show them the armory, to talk about the limited resources and stuff. I believe that them finding about all these things on their own is a further proof that the kids aren't going to meet him soon.

I don't know how the children are going to meet Bunkerman. I'll be frank, I'm very worried, because for the way the children meet Bunkerman to be as it is is of great importance for his character and character development; I worry to make them meet in a different context is likely to have negative consequences to his character growth.

Shifting back to Goldy Pond, I don't think we're getting there any time soon either? There was no hint to A08-63 in the letter. My personal guess is that the "Poachers" skretch was replaced with "help" because we're not getting any poacher this season, and they didn't want to introduce so early an element that is not going to be explained in this season. Of course "Minerva" could reveal it in their phone call- but then why not mention it at all in the letter, besides from ending the episode with a cliff hanger? Furthermore: would it make sense to introduce Goldy Pond before Bunkerman? Goldy Pond wouldn't be the same without him- besides the fact that it would be hard to integrate the story of Lucas and the other Glory Bell escapees, this is a friendly reminder that it's Bunkerman to both break Lewis' mask and later kill him.

Now, as for my personal guess? I think the children are going to leave the shelter and look for Minerva. First of all, that would explain why, in the opening, everyone has the go-out-shelter-coats:

That's the outfit Emma, Ray and later Gilda and Don wear when going out; it's an outfit we never saw the younger children wear in the manga. Another reason why I think that all the children are going to leave together is because it's the only way to protect them: they still can't be sure the shelter is a safe place (the manga reveals it isn't), so they can't leave the children alone in it. In the manga, they divide in two groups: Emma, Ray and Bunkerman leave the shelter, and Gilda and Don would have stayed to keep the children safe. For how things are in the anime, this becomes a problem. Let's say they decide to leave the shelter (and like, they will, otherwise the plot can't move on lol): Emma and Ray can't leave on their own, without Bunkerman to both guide and protect them; at the same time, they can't leave with the support of Gilda and Don, for that would mean leaving the children alone in the shelter. It's not only because leaving a group of less then nines alone would normally not be a good idea (these children are very smart, so maybe they'd manage to go on?), but they can't really know if the shelter will continue being a safe place: only because the demons haven't found it so far, that doesn't mean they can be sure they won't find it at some point; additionally, for what they know poachers are still after them. That's why I think the most logic progress of events will be for the children to leave the shelter together. Which, even though I stand for what I've said... Sounds like a very bad idea??? Not only the children keep travelling in this demon world- they also don't have weapons besides from bow and arrow? That's why I find the armory being empty one of the most senseless things- of course I want the children to be safe, but for the children to survive in demon forests completely unarmored sounds extremely unrealistic. I just hope they aren't going to kill one of the "irrelevant children" to prove how dangerous the world is, that would destroy me.

(I'm Chris.)

Ok, I think I covered everything! Thanks for asking! Let's hope together they won't mess this up for us :))

[kittyprincessofcats]

I love both shows (Spop and Su) but I wanted to ask about some things you’ve said:

“Can’t believe “It’s okay for fans to be disappointed when oppressive dictators who’ve murdered millions and have tried to kill the protagonists before get forgiven without having to face consequences” is a so hard to understand for some people, but here we are”

“So did Steven Univerae end with the Diamonds in prison where they should be, or did I do well to stop watching when I did?”

With that logic can’t the very same thing be said and applied to She ra regarding Catra?

“So did She ra end with Catra in prison where she should be, or did I do well to stop watching when I did?”

Hi there. First of all, I want to say sorry for taking so long answer this. January’s been a very busy month for me and I literally just didn’t have the time to write the kind of reply I think this ask deserves.

Next, I want to make a few things clear just so we’re on the same page:

I love both shows as well and nothing I’m about to say is intended to be seen as hate against Steven Universe. SU meant a lot to me and I was a big fan of it for many years. Change Your Mind disappointed me a lot as an episode and as a finale, precisely because I didn’t want the Diamonds to get any sort of redemption, but just because it was a dealbreaker for *me*, that doesn’t mean I harbor any ill feelings towards the fans or writers of the show. None of this is meant to be a personal attack against anyone who worked on this show or likes it.

I stopped watching SU after CYM, so this post will ignore anything beyond that. I have not seen the SU movie or Steven Universe Future and I don’t intend to. Please don’t try to convince me otherwise. I’m not comfortable watching more.

I wrote the posts you quoted because I got quite a few rude messages after I said I didn’t like Change Your Mind and that I don’t want to keep watching SU. The first one was a response to people who were giving me a hard time for not liking the Diamond redemption – it wasn’t me saying that /no one/ should like it, just that my feelings on it were valid as well and people shouldn’t badger me about it.

In that sense, YES you could say the same thing about Catra! If someone wanted to stop watching SPOP because Catra’s redemption made them uncomfortable (maybe because they knew someone like her in real life or something similar), that’d be absolutely fine! I’d never send them the kind of messages I got or try to pressure them into continuing a show they’re not comfortable continuing. Because respecting real people is more important than a show or a fictional character.

I’ll be honest: I’m a little tired of justifying my feelings about the SU finale to people. But I believe you’re asking out of genuine curiosity and I haven’t made too many posts defending Catra yet, so I’ll try to analyze this step by step for you – and anyone else who might be curious.

So, without further ado: Here’s my essay on why Catra’s redemption works for me but the Diamonds’ doesn’t.

Short explanation: Because if you compare the scale of their actions, their motivations, what’s supposed to make them sympathetic to the audience, their build-up, and how their respective redemptions are handled, then the Diamonds aren’t an equivalent to Catra – they’re an equivalent to Horde Prime. And if SPOP had suddenly redeemed Horde Prime at the last minute after building him up as the big bad, I wouldn’t have liked that either.

Long (very long) explanation under the cut

Okay, let’s get into this in detail.

1.     The scale of their actions

Let’s look at the evil stuff these characters have done first.

The Diamonds: Created an intergalactic empire, conquered millions of planets (destroying all life of them in the process) for millions of years, created a strict caste system in which all gems only have one function to follow and where Pearls are essentially slaves who have to obey every order, persecute and send shattering robonoids after gems that don’t fit into the system or fuse outside of their caste (off-colors), created a human zoo and kidnapped people for it, shattered anyone who wasn’t loyal to them, bubbled all the Rose Quartzes, created the Cluster and the other fusion experiments out of the shards of their fallen enemies (essentially torturing them for all eternity), corrupted all the gems on Earth, including those that were loyal to them. And that’s just what we get told upfront in the show. We’re talking about intergalactic dictators with no respect for life who will ruthlessly kill anyone who gets in their way.

Catra: Helped Hordak conquer one (1) planet. Bad, yes – but not nearly on the same scale as devoting eons to conquering entire galaxies. Also, Catra isn’t the one who founded the Horde in the first place; she just happened to grow up there (likely because she was taken from her real home as a baby) and was raised with their ideals. The Diamonds, on the other hand *are* the people who started their empire.

So yeah, the Diamonds aren’t Catra – they’re Horde Prime. He’s the one who founded the intergalactic Horde and destroyed millions of planets. (There’s even a whole parallel about how both Horde Prime and White Diamond think they’re perfect and everyone should be like them…)

Now, you could argue that Catra opening the portal was a crime on a larger scale. But even that would have likely only destroyed Etheria – one planet, not millions. The scale we’re talking about is still way smaller than Horde Prime’s or the Diamonds’ actions.

Catra’s other “crimes” in the show are things like being a toxic friend, manipulating and lying to people. Those are things I’m going to ignore for this post, since you specifically asked if Catra shouldn’t be in prison for her crimes. Being a toxic friend is bad and all, but it’s not actually something illegal that you can get thrown in jail for, so it’s irrelevant for this discussion. And it still wouldn’t be on the scale of the Diamonds, who, let me repeat, have destroyed countless galaxies.

2.     Motivations for their actions

“But what about *why* they did all of those things? Isn’t that relevant?” It is, and I’m glad you asked. Let’s have a look.

Catra: Catra grew up in the Horde through no fault of her own and was mistreated and abused her whole life to the point where survival and safety became her primary motivations. She was treated as second best to Adora, filling her with a desire to prove herself. She got told as a child that she’s only worth “keeping around” if Adora values her, so she tied her self-worth to Adora’s approval. She feels betrayed when Adora leaves the Horde, because she interprets it as Adora caring more about strangers than about her. She stays with the Horde because they’re the devil she knows, because she wants to prove herself and because she’s hurt about the only person who ever showed her kindness leaving her. She grew up without a proper parental figure and without ever learning what healthy relationships are supposed to work like, so it’s understandable why she has no concept of it. She opens the portal because she sees her abuser working with (and seemingly being accepted by) her enemies and that knowledge makes her feel powerless to the point where she’d do anything to get back at them. She’s been abused and victimized her entire life and all of her actions are a direct result of that. Catra thinks that if she gains enough power, it’ll finally give her the safety and approval she craves.

In general, Catra’s story always makes it clear that she’s a victim of physical and emotional abuse who never learned what healthy relationships are supposed to look like and who’s lashing out in the only way she knows how. Some people might disagree on this, but I personally never had a point in the show where I couldn’t relate to her or couldn’t understand why she’s doing a certain thing. SPOP did a brilliant job of making sure that even at her lowest point, Catra’s actions are still understandable when you think from her point of view.

The Diamonds: … Uhm yeah, I’m drawing a blank here. Unless there’s some explanation in the movie or SU Future, we never actually learn why they did any of what they did. We get an explanation for some of their deeds – that they created the zoo because they thought Pink wanted it, that they corrupted the gems as revenge for Pink’s supposed death – but what the show never goes into is the real problem: Why they’re dictators in the first place. Why they consider themselves superior to other gems. Why they shatter anyone who doesn’t fit it, etc. They’re just dictators… because they’re dictators. We never get to understand their motivations.

And just to be clear – I think that in itself is perfectly fine. I don’t think SU should have had to give us any more explanation than that. SPOP also never explains why Horde Prime conquers other planets in the first place. He just does it because he’s evil and power-hungry and the show needs an antagonist. I think not giving a villain a deeper motivation is fine – if you’re not planning to redeem them.

3.     What makes them sympathetic

Catra: I pretty much explained this already. We’re told from season 1 that Catra was abused by Shadow Weaver, that Adora was the only person who cared about her, that she was always treated like she was second-best. Heck, there’s an entire backstory episode just about everything Catra’s been through. We’re meant to feel bad for her, even when she’s evil. We’re meant to cheer for her when she stands up to Shadow Weaver and defeats her. We’re meant to feel for her when Shadow Weaver stabs her in the back and Hordak sends her to the Crimson Waste. Her entire breakdown is meant to be tragic and engaging. When you’ve watched a character suffer so much through no/little fault of their own, when you’ve watched them stand up to bigger villains in a way that makes you root for them, it makes sense that you want them to eventually get their happy ending.

The Diamonds: I realize in retrospect that the writers probably meant for us to feel bad for the Diamonds, too. Like when they’re grieving Pink, during What’s the Use of Feeling, Blue?, or when they complain how stressed they are in Change Your Mind. But the thing is… it just didn’t work for me. After the show spent all that time showing us all the death, despair, and destructions the Diamonds had caused, after it was made clear that the Crystal Gems had lost multiple friends and allies to them, it just didn’t make me feel sympathetic that the diamonds had lost one (1) person. So what if someone shattered Pink for being a dictator? The Diamonds themselves have shattered millions of gems and now that it’s someone they care about I was suddenly meant to feel bad for them? I didn’t.

When That Will Be All first aired, I loved What’s the Use of Feeling, Blue? – because I thought the show was doing this brilliant thing where they show that evil people can still have loved ones and have feelings but that doesn’t make them less evil. Every horrible person in history had feelings and loved ones. That doesn’t excuse their actions. In retrospect I find it disappointing to know that we were meant start feeling bad for the Diamonds due to their grief for Pink, that we were meant to see Pink/Rose as the evil one for starting a rebellion against them, that we were supposed to believe Bismuth was in the wrong. Rebelling against a dictatorship is a good thing. Standing up for equality is a good thing. I don’t like that the show suddenly tried to spread this message that conflict is always bad even when you’re actively fighting against tyranny and oppression. What happened to the Crystal Gems and their cause? What happened to the Steven from season 1 who reassured Lapis that “They’re mean, and that’s why we *have to* fight them”? And no, the “but being a dictator is so stressful, please feel bad for us” part didn’t work for me either.

4.     A well-written redemption arc

For a well-written redemption arc, a character needs to actually regret what they’ve done and realize they were wrong. Then they need to put in the effort to be better from now. They need to… actually change. And then they need to do things that make up for their actions.

Catra: We get to see Catra go through an amazing character arc that culminates in her redemption and her eventual love-confession to Adora. The entire arc that was built for her over 5 seasons leads up to that moment and it’s so satisfying when it finally happens because it makes sense. We get to see her make big mistakes, get to see how she finally even scares Scorpia away, how Scorpia leaving breaks her, how Double Trouble gives her a harsh but needed lecture, how she understands that she and Glimmer aren’t so different, how she finally remembers Adora and decides to save her. We see her regret her actions as early as season 1, when she feels visibly bad after leaving Adora on the cliff in the temple. In season 4, she has nightmares about Entrapta and feels guilty for what she did to her and for opening the portal.

And from the moment she decides to change, she’s willing to make huge personal sacrifices to make up for her actions: She sacrifices herself to save Glimmer, gets tortured, mind-controlled and nearly dies in the process. The heroes saving her doesn’t come from nowhere and their forgiveness is well-earned because she was willing to put herself on the line to save someone else. She then keeps helping the heroes, apologizes to everyone she’s hurt, is again willing to sacrifice herself for Adora in the finale, and finally saves the entire universe from Horde Prime by staying with Adora and confessing her love to her. If we’re trying to be realistic about this – I’d say saving the whole universe from an intergalactic dictator would at least dramatically shorten her prison sentence? So no, I don’t think Catra should have ended up in prison.

The Diamonds: So the thing about their redemption arc is… they don’t really have one. We’re just kind of meant to forgive them out of the blue. Steven and the Crystal Gems ask the Diamonds for help to cure the corrupted gems and they manage to convince them, but there’s never any point where the Diamonds regret their actions. They only start to regret their actions towards Steven and Pink, but there’s never even an ounce of regret for what they did to anyone else. The Cluster? The deaths? The millions of destroyed planets and civilization? The humans and Rose Quartzes in the zoo? The presumably thousands of off-colors fighting for their lives underground on homeworld every second? That’s all swept under the rug in the finale. And therefore, the Diamonds can’t even get to the point where they make sacrifices for someone else or do anything that would lead me to forgive them, because they’re not even at a point where they realize they’ve done anything wrong. The show treats them like they’re redeemed in the end, but they’re not. Everything they’ve done just gets ignored.

5.     Being held accountable for their actions

Another thing that’s important for redemption arcs is that the heroes don’t just ignore what a character has done and act like it never happened.

Catra: SPOP never shies away from admitting that Catra has done bad things. Even after her heroic sacrifice, the other characters don’t just all forgive Catra at once. Adora still calls her out when she’s being selfish, some of other princesses are resentful towards her, Frosta punches her in the face, etc. One heroic sacrifice isn’t enough: You see Catra constantly working on herself afterwards and doing what she can to become a better person and make up for her actions. And most importantly, those actions are addressed in the show. (Arguably they could have addressed what happened to Angella again, but overall Catra’s actions get acknowledged in the show.)

The Diamonds: My other big problem with SU suddenly acting like the Diamonds are redeemed is that their actions never get addressed. People act like when I say I wanted the Diamonds to be held accountable that means I wanted Steven to shatter them in cold blood – no, I just wanted Steven to at least *say* that what they’re doing is wrong. Like I said, all of their actions other than corrupting gems and treating Steven & Pink badly completely get swept under the rug in Change Your Mind. It’s like we’re meant to assume that everything else will be fine now just because Steven managed to convince the Diamonds to do one (1) thing for him. What will happen to their colonies now? What about the humans and Rose Quartzes in the zoo? What about all the off-colors fighting for their lives underground on homeworld? What about the enslaved Pearls and the class system? None of that ever gets addressed in the finale – we’re just supposed to take that happy ending at face value and believe that all the other stuff will get fixed now, even though the show never says that!

(Before you tell me how any of that gets addressed in the movie or in Steven Universe Future – I don’t care. SU Future is a new show that takes place after a timeskip. The movie is also a separate thing. SU should make sense as a show on its own and it doesn’t. Change Your Mind was presented as a finale and therefore should wrap up the most important plots and it didn’t.)

For all we know after watching CYM, Steven doesn’t actually care about anything the Diamonds have done. He’s sitting on their shoulders and laughing with them in the end and we’re meant to take that as a happy ending. For all we know, there’s still an oppressive class system and gems getting shattered for not fitting into it on homeworld. The Cluster’s still suffering. The Pearls are still slaves. The Diamonds are still dictators and that aspect never changed – because it’s never addressed. When White Pearl regains consciousness, Steven says “Welcome Back”, but nothing in this episode ever implies that she’s not still WD’s slave. When Lars and the Off-colors arrive on Earth, the fact that they’re terrified of the Diamonds is played for laughs. The finale revolves only around Steven’s feelings while Garnet and Pearl never get a moment of standing up to the people who hurt them.

“But Steven needed the Diamonds’ help the heal the corrupted gems!”

Yes, that’s the in-universe explanation. But a writer still invented that rule. And even so, they could have added a scene where Steven takes the Crystal Gems aside and tells them “Hey, I know these people killed many of your friends, enslaved and persecuted you, but I just want you to know that I don’t actually like them or consider them family and I’m only doing this to help the corrupted gems. You’re my real family.”

6.     Identifying with their victims

I don’t remember who made that post, but there was a post on Tumblr somewhere that said that how likely someone is to forgive a villain often depends on how much they identify with the people that villain has hurt. And if I’m being very honest, that’s what a lot of my hate for the Diamonds boils down to:

The Diamonds don’t appear in Steven Universe until way later in the show. The way we first learn about them is indirect. We know the Crystal Gems fought a war against someone and are hiding on Earth from someone, but that someone doesn’t get a face until way later. By that point, we’ve already been told that fusions like Garnet are illegal on homeworld, that Pearls are considered lesser gems, and that Amethyst would be defective by homeworld’s standards. And all of those things made me personally sympathize with the Crystal Gems and their found family of misfits – and it made me angry at whoever did all of this to them. You can easily read the discrimination Ruby and Sapphire faced for their relationship as a metaphor for homophobia or prejudice against interracial relationships, the discrimination Pearl faces as racism or classism and how Amethyst is treated as ableism.

(Getting personal here for a moment: I’m gay and my parents are from a homophobic country that’s run by a dictator, so I strongly identified with Garnet and how she can’t go back to homeworld because she wouldn’t be allowed to exist as her true self there. Am I maybe reading too much into the show there? Yeah. But honestly, if the Diamonds’ redemption relies on people not identifying with the Crystal Gems – aka the literal protagonists of the show – too much, then maybe it’s just not a good idea. Yeah, maybe if I hadn’t identified with the CGs so strongly, I wouldn’t have minded the Diamond redemption – but it also means I’d have never loved SU as much in the first place.)

What I’m saying is that we first learn about the Diamonds from the point of view of the people they oppressed, persecuted, and tried to kill. We also meet the off-colors and learn about their plight, how they had to spend eons hiding from robots that want to kill them, how they believe the way they are is wrong, etc. We see the Cluster, the people in the zoo etc. and get told the Diamonds did all of this. And then Change Your Mind expects us to suddenly randomly forgive them with no build-up and be okay with Steven calling them “family” over the actual people who raised him.

Catra, on the other hand, is first introduced to us as Adora’s best friend. We get to meet her from the point of view of the protagonist who obviously loves her. Throughout their separation and their struggle, the relationship between these two characters drives the show. Their episodes together are emotional and well-written and make the audience root for them to eventually find their way back together again. We meet her as an abuse-victim who thinks her best friend left her, and we get so many reasons to sympathize with her before she ever hurts anyone.

(And yeah, it helps that the show never lets us personally meet any of the people from the lands she conquered. Yes, we feel bad for Scorpia and all that – but again, being a toxic friend isn’t actually a crime. And yes, we feel bad for Entrapta - but so does Catra, and Entrapta ends up being fine and forgiving her.)

7.     A satisfying ending for a show

This is more general, but SU didn’t have a satisfying conclusion imo, because almost none of the things that needed fixing were ever addressed. We’re meant to take “but the Diamonds say please and thank you now” as a good conclusion without getting to the part where they murder people every day. For all we know, Steven doesn’t even care about that part because the writers never made him act like he does.

And yes, I realize that the Diamonds are meant to be a metaphor for a conservative family that finally learns to accept their queer child (Steven), but that metaphor just didn’t work for me (a queer child of an unaccepting family) at all. Because they’re not presented as an unaccepting family: The show spent 4 seasons building them up as dictators and the ultimate big bad, only to drop the “they’re related to Steven” thing in there last minute and sweep the other stuff under the rug. We’ve also spent 5 seasons seeing the Crystal Gems, the people who literally raised him, as Steven’s family, so suddenly giving that title to their oppressors feels super wrong to me.

To give you a comparison, imagine the following ending for She-Ra: Near the end of season 5, Adora suddenly finds out she’s Horde Prime’s long-lost granddaughter. After calling him out for treating her/her parents badly, he finally regrets that part of his actions and promises to leave Etheria alone so Adora and her friends can live there in peace. However, he’s still going to conquer and destroy the rest of the universe and keep Hordak and the other clones mind-controlled. Adora is fine with this and you see her and Horde Prime laughing together in the end. Catra and all the other people Horde Prime chipped and tortured are seen being okay with him now because as long as Adora, the main character, is happy all the hurt Horde Prime caused anyone else doesn’t matter. When the Star Siblings show up on Etheria while fleeing from the Horde army, the fact that they’re scared of Horde Prime is played for laughs. The End.

… Sounds pretty stupid, doesn’t it? I’m glad SPOP had the guts to just let Adora kill Horde Prime instead. Because some people are not redeemable, and that’s an important lesson, too.

Anyways, I’ve been rambling for too long. The bottom line is: The Diamonds are way more comparable to Horde Prime than to Catra. The scale of their actions is the same as that of Horde Prime, their motivations are never explained, we never get any reasons to sympathize with them, the main characters have all been victims of their regime, their redemption arc is nonexistent, they never get called out for their actions and the way their story is concluded is just badly written and leaves way too many factors unaddressed. They get forgiven without ever even being sorry and the Crystal Gems never get a moment to shine and stand up to them. So yes, I consider them irredeemable and was disappointed the show didn’t end with them getting imprisoned at least. (I was kind of hoping for a Homeworld revolution where everyone finally stands up to them, but… *sigh*.) If the show was going to redeem them, they should have at least done it properly by actually showing them have a change of heart and making them try to make up for their actions, instead of letting us assume that all happened off-screen.

Catra on the other hand gets presented as someone to root for from the beginning. She’s only in the Horde due to unfortunate circumstances, got abused and mistreated her whole life, is motivated by a desperate attempt to prove herself and make sure she doesn’t get hurt again, and never committed crimes on the same scale as the Diamonds. Her change of heart is believable and what her arc has been building up to for 4 seasons, she makes great personal sacrifices for Glimmer and Adora, gets held accountable for her actions, helps save the entire universe and is a character who has already suffered her entire life – so yes, I strongly believe that she deserves to live a happy, free, and peaceful life after the show.

[acephysicskarkat]

I don't want to start fights, but don't you think you may be going way too far with the salt? It's one thing to not be happy with the way a show ended(and so many people think S5 was great, so you are in a huge minority already), but to insult the showrunner because *one* ship didn't become canon is going too far, mate. Catradora was there from the start, and Catra had an amazing redemption arc. Then again, I am just one person, so idk. Anyway, thanks. -Callum.

I actually respect Noelle Stevenson a lot: bringing a show like She-Ra all the way to its conclusion, producing seasons 1-4 (which are in fact really good), working hard for BLM, all while being out and proud in an industry that still has plenty of bigots around - these are legitimate achievements that are worthy of respect.

However.

1) I don’t give a shit how many people liked S5. I am allowed my own opinions on my own blog. If you don’t like my opinions the block button is right there. Telling me that a lot of fans like the season is an irrelevant data point because my opinions are not subject to majority vote.

2) Catradora was part of the disappointment that was S5, but it was far from the only thing. The strong ensemble cast, one of the best things about the show, is underused; every redemption arc is utterly weightless (Catra’s isn’t the worst but it’s still badly undercooked, of which more later), Glimmer and Bow are barely relevant despite the BFS being the show’s actual beating heart (I know Noelle says Catradora was supposed to be the heart but it’s never felt like that to me), everything related to Catra and Adora’s relationship feels forced, out-of-character and clumsy, the resolution is tied to a bullshit save-the-world button with unclear results, long-running elements like Adora’s family or the Catra/Shadow Weaver parallels are ditched in favour of coming up with dumb answers about what Greyskull means, and the writing is just kind of bad.

It has good elements - I loved the Star Siblings, I liked having Entrapta actually deal with the consequences of her actions, Melog and Wrong Hordak were good additions, and “Peril of Peekablue” was excellent, on par with something like “Mer-Mysteries” - but the season was considerably worse than all the others.

Like, I actually went into S5 going “The most likely outcome here is Catradora canon, but hey, maybe this will be the season that sells me on it” and it wasn’t. It really, really wasn’t.

3) Catradora was there from the start, but it was also badly done from the start and S5 did not meaningfully improve it. It’s actually my go-to on how not to tell an enemies-to-lovers arc because the “enemies” part is really prolonged, heavily emphasised, toxic, unpleasant, emotionally wearing and vicious and the “to” is super rushed and clumsy (of which more in the next bullet point). From "The Promise” to the end of season 4, there are no moments where Catra and Adora’s emotional connection does anything to soften the hostility; if anything, it makes Catra worse because it adds a really cruel and personal note to the whole thing.

Then S5 executes on it badly because it relies heavily on papering over inconvenient events and character development instead of trying to build organically on what has happened before. Catra telling Adora, “You never gave up on anything, not even me,” is my go-to example of this, because she did. It was the S3 climax and a huge moment for Adora’s personal arc! And then the show even reinforced it by having Adora throw a robot directly at Catra’s face with pretty unambiguous intent to kill, or at least severely wound, in "Flutterina”. But it’s not dealt with; instead, we get one questionable line of dialogue about pretending it never happened. Having Adora admit she was wrong to give up on Catra and swearing never to do so again could have been a really powerful moment, but instead of trying to do anything with the thing we saw happen onscreen, it’s just shoved under the rug. It’s bad writing and a huge waste of interesting potential. (It’s also bad planting and payoff; we get the setup in S3, the reminder in S4, and then it’s outright retconned away.)

4) Catra’s redemption arc is actually kind of bad. It’s not as bad as Hordak’s, which I only barely consider a redemption arc because it’s super truncated and he never admits to even doing anything wrong, but it’s bad.

First, it’s super fucking rushed. Literal years of seething, constantly building resentment disappear offscreen; there’s never a point where she meaningfully grapples with it or comes to realise that being “Shadow Weaver’s favourite” was also a hellish experience just in different ways. She does her one big redemptive act, gets forgiven instantly by everyone (including Adora, for whom it feels badly out of character given the aforementioned giving-up, her suspicion in “Princess Prom” before Catra had even tried to ruin her life once let alone six times, etc.), and her resentment just...vanishes in one hand-hold. It was her defining personality trait and the underlying cause for most of her time as an antagonist; it really should have been, you know, dealt with, instead of just forgotten. It does try to deal with her anger issues and problems expressing vulnerability, but that’s like saying that now that Azula has agreed not to torture small animals everything is fine; it’s far from the deepest issue here and pretending otherwise does the character and the show a disservice.

Worse than that, nothing she actually did feels like it means anything because the show just shoves it all under the rug. I’m not asking that she spend an episode personally making it up to each person she’s harmed a la Zuko, not least because after her participation in the sack of Salineas that’s more episodes than a long-running daytime soap opera, but at the very least using her actions in seasons 1-4 for something could have led to some really interesting scenes and good character moments and all that potential is instead just wasted. Angella’s death is just plum forgotten despite how important it was last season; the parallels between Catra’s actions in “White Out” and Horde Prime’s chips are never explored; the Shadow Weaver parallels the show’s been building for four seasons and explicitly stated in the graphic novel tie-in are just ditched and nothing ever comes of them; everyone who might not forgive Catra in under five minutes is mind-controlled until the season is almost over, contributing to the sidelining of the strong ensemble cast. It just feels like they didn’t know how to square Catra’s actions in seasons 2-4 with how they wanted her arc to end, so they just opted to pretend those actions never happened, and as a direct result the whole mess lacks texture and weight and doesn’t feel like a satisfying development for her story. It never feels like she’s dealing with the consequences for her actions, because her actions don’t have consequences.

Noelle once said that the driving question for Catra was “what happens when you’re the toxic friend”, and now we have the answer: nothing. Catra faces no long-term consequences for being the toxic friend. Perfuma’s one minute of being angry is the longest gap between Catra seeming sad and Catra getting forgiven. Nothing she did matters in the long run except in the sense that she’s kind of sad about them in aggregate. None of her bridges are burned so badly they can’t be fixed. And that’s a bad answer, because in real life when you’re the toxic friend people do refuse to forgive you instantly when you say sorry. Relationships do get trashed so badly they never recover. The pain you cause matters, and the traits that made you the toxic friend take work to overcome...unless you’re Catra, in which case the pain you cause suddenly stops mattering and your issues can be dealt with in under an hour offscreen.

Or at least, that’s my attitude. Like, if you liked the season, I’m not saying you’re an idiot or have bad taste. But I hated it. It could maybe have been good if it had been two seasons, actually allow Catra’s arc to breathe instead of speedrunning the whole thing, done more with the ensemble cast etc., but what we got was a rushed mess and telling me that “lots of people liked the rushed mess actually” is not relevant to that assessment.

(Just as a side note, if you really don’t want to start a fight, I’m not sure sending passive-aggressive asks to the tune of “have you considered that your opinions are Wrong actually and mine are Right” is the best way to go about it.)

[sz-amare]

4. Steins; Gate

Beginning of the Ending in the Beginning

(Spoiler Warning!) This contains minor spoilers and describes most of the significant details of the first episode. If you want all the events to be more exciting and you would like to experience Steins; Gate the ‘proper way,’ I recommend watching the series first. But at a minimum, watch the first episode before reading this analysis.

For quite a long time, I have heard that Steins; Gate is a masterpiece and that it has one of the most well-crafted plots in anime. I have to say; it didn’t fall short. After watching Steins; Gate, I felt an odd satisfaction that I don’t typically get from other shows. It is difficult to pinpoint exactly what it is. However, what I think gave me this feeling is just how well-crafted all the components of the anime felt. I had a deep connection with the characters; the mystery aspect kept me hungry for more knowledge; the cinematography was spot on; and finally, the foreshadowing worked perfectly with the plot’s final events to wrap-up everything in the series.Although the last couple of episodes take all the credit for the amazing plot, the first twelve are responsible for the build-up. I personally think that the first episode, in particular, played a substantial role in this build-up.

The first episode of Steins; Gate, or at least the first half of it, is probably my favorite of the entire series. Of course, first-time watchers wouldn’t understand how truly significant it is; simply because everything in the first episode makes sense after watching the final two. But there is a lot more to the first episode than simple foreshadowing. Every scene contains valuable information to understanding our characters, environment, and context to the entire series.

A great example comes in the metal Oopa scene. One of the characters, Mayuri Shiina, is looking at a toy dispenser, desperately wanting one of the toys called an Oopa. She asks the protagonist of the series, Hououin Kyou — I mean Okabe Rintaro, to give her a 100 yen coin to get an Oopa. Okabe puts on a cool guy act and laughs, telling her, “Even though I’ve known you since we were kids, I’m not lending you any money.” 

He then proceeds to buy the toy Oopa for himself to “show her how cruel the world can be.” Okabe realizes he got a metal Oopa, which Mayuri explained is the rarest type of Oopa. After hearing this, Okabe gives the Oopa to Mayuri.

There is a lot of information contained here. We learn of Mayuri’s childish and adorable nature; that Okabe and Mayuri have been friends since they were children; and they have a close bond.  We can see that Okabe’s behavior seems more like a façade than his actual mannerism. And finally, we can see his kind-heartedness towards Mayuri. All of this information unpacks in 30 seconds. Not only that, but the Oopa plays a major role at the end of the series. With each passing scene, I feel like I have a better understanding of the characters as a whole.

While we are unpacking all this information, many questions come to mind. Why is Okabe’s phone displaying static? Why did the building shake just now? Who is the suspicious-looking guard on the roof? Why is a redhead telling Okabe that they met 15 minutes ago when we don’t remember such an encounter? In my mind, and surely in many others, I knew it had something to do with time travel, considering that time travel is mentioned early on and seemed like an important theme. 

We especially get this suspicion when the redhead, who we later learn is Makise Kurisu, told Okabe that they met 15 minutes ago while Okabe had no recollection of it. Questions continue to collect in the viewer’s head, climbing in significance.  However, as the episode progresses, new questions emerge causes the prior questions and suspicions to be forgotten. All our previous questions disappear as we begin to ask who stabbed Makise, and why did everyone just disappear from the streets. The last two questions are the most significant and confusing, taking our attention and forcing us to forget all our previous questions.

This first half of the first episode plays the most prominent role in the build-up to the finale. It introduces many “loose-end strings” of questions and irrelevant-seeming elements that feel unrelated to the overall plot and story. Only until the ending do we realize the significance of the first episode. A feeling of satisfaction encases you when you realize you can finish the series without the discomfort of a non-concluded story. All the forgotten questions are remembered and answered. All the irrelevant elements are reintroduced and made into significant roles. All the “loose end strings” lead to one massive and beautiful tapestry. It is the definition of a smoothly flowing plot that brought me that feeling of satisfaction.

Of course, any well-crafted story is never without its plot holes, but the only plot holes I could really point to were very minor and related more to the science aspect than the plot itself. Other than that, I found the series to be absolutely perfect. However, some people argue that the first 12 episodes are slow-paced and boring. But I really enjoyed them. I found them to be more realistic and essential to the world-building, similar to the first episode.

Overall a wonderful series. I rate it a 10/10: a beautiful masterpiece. It made its way into my top 15. The only reason it’s not any higher is because I enjoy more fantasy and shōnen elements in a story, but 15 is still pretty high. 

I recommend this to anyone who has a bit of experience watching anime, I would say after watching 50 or so. I don’t think you would enjoy this as much if you are looking for constant intensity, fights, or action. It is a slower-paced show, and the target audience is aimed more at people looking for an amazing story. But otherwise, a great watch!

If you have any questions, feel free to ask in the “Ask Me Anything” tab on my Tumblr page. 

[cloudninewriter]

So I actually got into it with some assholes on a supernatural forum because they were going on about how “straight representation is just as important” and “straight people see themselves in straight dean & destiel would rob them of that” what the fuck?? I knew that forum had homophobic leanings (to put it kindly) but dear god.

ITS NOT ABOUT A MOTHERFUCKING SHIP!

And I’m not saying erase every straight character everywhere. Supernatural still has Sam, someone who’s never been hinted to be anything but straight (though in earlier seasons was the punchline of gay jokes). Literally no one has ever asked for straightness to be wiped from media. Agree with destiel or not, that’s just utter fucking bullshit.

No straight person has ever gone through the repression, fear, depression, anxiety, wondering what’s wrong with you, keeping the secret about their sexuality. They’ve never had to watch a show give them the vaguest representation only to rip it away in the stupidest possible way. They’ve never dealt with the trope of burying gays or the only happy gay is a dead gay. The fact that straight is just the default for every goddamn character in existence unless otherwise explicitly undeniably stated means you aren’t oppressed. Losing *one* straight icon isn’t going to change your life in the slightest. Gaining a gay icon would’ve been beyond huge, especially when the show & everyone involved has been intentionally teasing it *for years* to gain and bait gay audiences.

But Supernatural has always been hardcore straight man pride, I guess.

It’s not even that Cas immediately died (though it kinda is) or that there wasn’t a happy ending for Dean (also kinda is). Those were both pretty expected of a show like Supernatural, but not allowing Dean to even mourn, and not giving Cas even a voice over or reused audio to show that *something* had changed. The final 2 episodes just rendered 15x18 completely irrelevant, erased, like it had never happened. It was poorly written and undid every single bit of character development they’ve spent 15 years building. In what world does Dean just accept Cas’s death and move on with his life? In what world do either brother not be desperately getting themselves to Jody, Charlie, Donna, other Bobby, Eileen, and every other character the second they’re brought back (which isn’t even official canon) so they can have a tearful, grateful breakdown of seeing someone they thought was gone again? And I get COVID happened, so at least pick up the phone. Show them hearing the voices of their family. Show them acknowledging 15 years.

After Despair I would’ve expected Dean to say fuck it about God, and that the empty was now his priority. To bang down the doors of Angel hell and demand to get Cas back, to make a deal with a new Death or with Chuck and Amara. To *do something* about Cas. Pray at least. Literally anything. Even if destiel isn’t real or reciprocal, *that’s* the Dean we know.

But “rogue translater” is bullshit unless there just so happened to be a second one in Portuguese.

[kinetic-elaboration]

July 17: 2x26 Assignment: Earth

Finally finished up S2 of TOS yesterday. That was... a rough episode tbh. I’m just gonna say it: back door pilots are bad! They’re bad. If I wanted to watch that other show, I’d watch it.

Wow, they’re just really jumping right in, huh? “Here we are, on a routine mission into the past, using a time travel method that we invented nbd.”

Investigating desperate problems in the year 2020...2016.... no wait 1968.

Ooh, Spock in the transport room today. Does he have a whole extra random station there? That’s so weird; I’ve never seen that before. It’s like hidden in the corner.

Cat!! Cat!!

What a good actor. I’m still bitter that wikipedia has a whole section about the casting for “Isis the cat” that talks entirely about the human who played Isis for 2 minutes and nothing about the talented feline actor. Where did they find her? How did they teach her to act?

She has a lot of thoughts about Kirk.

I wrote down “Scully, you’ve got to see this” in my notes and I’ve already forgotten what it refers to lol. Some moment that I thought would fit well with my favorite x-files meme.

Change history, you say? Spock is intrigued. ...Admittedly, Spock is often intrigued.

“What if it turns out you’re an invading alien from the future?” Honestly...let him invade. You’re not supposed to be here anyway.

I’m pretty insulted by this. The aliens went through all this trouble to help in 1968...where are our alien helpers NOW?

The cat straight up attacked his face.

Kirk is so fond of Spock being fond of the cat.

“It’s a lovely animal. I feel myself strangely drawn to it.”

Kirk is way too confused by Seven--an allegedly human person with super-human abilities that he says come from aliens--and yet, he’s met Charlie X so??? Is this not the same?

Kirk’s got the whole crew checking in on zoom.

(I actually do like this sequence of him getting video calls from different parts of the ship.)

“Weren’t orbiting H-bombs a huge problem in 1968?” Looks at the camera like he’s on The Office. Not the subtlest bit of writing in the “social commentary” genre. I do say this with love, though. I always enjoy when they comment on contemporary problems.

“He has a totally perfect body.” Lol don’t distract these two bisexuals.

[soft meowing]

“The prisoner has escaped.” The way this is shot, it looks like he’s talking about the cat.

Hmm, I do love the decor. Very 60s. This honestly immediately feels like a different show, and a much more dated show; even when the Enterprise time travels, it tends not to time travel to... office space.

Love the little sounds the computer makes.

So is Isis supposed to be one of the fancy aliens? It’s never explained but one must assume she is.

Aw, he’s petting her paw.

So I assumed the cats sounds are real, but just dubbed. They’re not lol. Which I guess isn’t surprising: this cat makes a lot of noises! They were provided by a human voice actress.

Damn.... I want a secret bookshelf that turns around to reveal a super computer with a big screen. “Computer... play Netflix.”

That’s what Seven does in his spare time.

The computer is an AI. “Beta 5 snobbery” lol.

Where are OUR alien overlords to stop US from destroying ourselves before WE can mature into a peaceful society?

This is really masterful exposition lol. Not forced or awkward at all.

ST sure does love the snooty female computer trope.

“Get us the proper costumes.” Yes, get Spock his Requisite Hat.

Omicron IV....that’s one of the names they use in Futurama lol. Such nerds.

Another excellent Spock Hat.

I love Seven’s various IDs. Great style. I wish my driver’s license looked like those.

“Who do you think you are?” He hasn’t decided yet. That’s why he was shifting through his IDs.

Seven is not smart lol. Like, he should have figured out way faster that this lady isn’t one of the Alien Overlords. He asks her the code question, she doesn’t understand it, and he... assumes she’s just really in character? Dude, that’s what the code questions are for!!! To help you identify people! Otherwise you could just straight up ask: are you an alien?

Instead he’s like “oh, you silly alien, you’re playing with me,” and then is forced to trap her, reveal his whole mission, and ultimately ensnare her in his plan.

I want that typewriter. Voice recognition typewriter.

"My incompetence has made you aware of very secret devices." Well at least he knows.

Trained cat!

The alien overlords were killed in a random car accident. That’s ironic.

Oh look, a real rocket!

Brown pants + short sleeved shirt + tie is such a Classic 60s look.

This security guard doesn’t think it’s weird that this random dude has a cat with him? Is this part of Isis’s alien power?

Except for the part where it’s a weapon, it’s pretty cool to see all this build up to, like... launching stuff into space. Exciting.

Isis likes to be on shoulders. Just like Little Guy.

New hat for Spock. His outer wear hat, and now his fancy hat. There is something to be said for this ep, and that is Kirk and Spock in suits.

Amazing how they literally launched rockets with computers that old. Like seeing the big bank of primitive computers is totally wild. We put people on the moon that way! Amazing.

“Meow.” Lol, Isis is stressed so she’s speaking like a cat. That’s a pretty funny joke actually.

Seven is so incompetent. If he’d just let the Enterprise help, Scotty could have fixed that rocket issue in like 3 seconds.

Lol everyone’s just pulling Gary through space. Now on the Enterprise. Now in the office.

Why does this computer have a hug black screen if it only displays images on the small white circle?

"Spock and  I in custody. Main characters, doing nothing, knowing nothing, totally useless and irrelevant. I have never felt more helpless." Literally what is even the point of them today? Does Spock even have lines outside of “I like the cat”?

Isis is jealous of Roberta. Is she.. in a relationship with Seven lol?

Uhura is listening to everyone in the world. She probably has a universal translator on, but I do feel like this scene implies she just...understands all the languages.

So now the warhead is armed and heading to somewhere vague... in other words, everyone has collectively made the situation worse.

....Or this was Seven’s plan all along? To scare people into ceasing to be so careful with nuclear weaponry? As someone who knows humans better than this guy, I think this is a dumbass plan.

“That’s why so many people in my generation are kind of crazy and rebels.” Same, sweetheart.

Really this is just a story about bad communication. If Seven had told Kirk his plan upfront, Kirk would have helped him. And if Kirk weren’t so insistent on involving himself in something just because he happens to be somewhere he probably shouldn’t be, we wouldn’t have this issue either. The hubris of everyone.

Overall, just a really forced narrative imo.

Or that’s how it was supposed to be lol. The Irony of time travel. By it’s nature, everything has already worked out.

Kirk and Spock are like “You’re welcome. Peace out.”

Honestly... Isis was the only good part. Such a talented cat actor!! Or trio of cat actors, I guess. Had to do all those stunts and stuff.. .amazing. I also liked the concept of Isis. How she turned into a human later just to troll Roberta. How she’s never really explained--one must assume, an alien? Plus I pretty much never get tired of human + animal teams where the animal makes animal noises and the human just understands and answers in English.

As a stand alone sci fi concept...it was okay. Kinda dated by now. The alien tech was nifty and Roberta could have grown on me. Maybe even Seven, though he left a lot to be desire. That said, the narrative relied a lot on people getting in each other’s way for no reason, which I find very frustrating.

But as a Star Trek episode....no. The main characters were just nuisances on the side lines!! I’m not even sure what Kirk’s mission here was--to try to figure out what Seven was doing? And stop him if necessary? But he never really decided if it was or not, until the point where not trusting him would basically cause a nuclear war? I don’t know, I found it all very frustrating. The melding of the original show and the spinoff was not smooth.

If I were watching this in 1968, I’d feel very cheated. THIS was the season finale? That’s it? I don’t even get a real Star Trek episode and now I have to wait months for anything new?

And what I get after all that waiting is Spock’s Brain?? I’d be tempted to quit. If I had a tumblr in 1969 I’d be writing multi-paragraph rants about how the best show on television has completely nose-dived lol.

But then there’s The Enterprise Incident, which is one of the best episodes... I don’t know, man. It’s a conundrum. I’ve only seen maybe half of season 3 but from what I remember it’s very uneven: some of the best eps (The Enterprise Incident, For the World Is Hollow, Day of the Dove) mixed in with some of the worst (Spock’s Brain, The Paradise Syndrome), plus some that are good concepts but shoddily executed (The Way to Eden). So we’ll see what I think about it when I see it all in one piece, in air date order.

[comradesummers]

Faith vs Kendra Anya or Oz Buffy + Tara

Hi, thanks for asking. Sorry for taking so long to answer, insert obligatory excuse about college kicking my ass.

Faith vs. Kendra

So this one’s really hard, and my answer got way too long and pretentious, but I hope you’ll bear with me. 

In order to understand Kendra’s fighting style, I think it’s important to talk a little about the fight she has with Buffy in What’s My Line (Part 2). That episode illustrates the differences in Buffy and Kendra’s fighting style when Buffy does “the chick fight thing” and Kendra doesn’t know what she’s talking about. Basically, this move is sort of a physical demonstration of their differences. Kendra is the traditionalist, therefore she is highly skilled in technique but less good at improvising and thinking outside the box. Buffy, meanwhile, is less traditional and less technically skilled, but she’s better at improvising and using her emotions to her benefit. These ideas are shown in the initial fight between Buffy and Kendra, and then verbalized by Buffy later in the episode. 

Faith is on the other end of the spectrum. She has little to no formal training (she’s called after Kendra’s death in Becoming; in the few months between that episode and her arrival in Faith, Hope & Trick, her watcher is murdered; neither Giles nor Wesley put much effort into her training in season 3; and then she goes to prison for like 3 seasons). However, she’s clearly a skilled fighter, as evidenced by the fact that she can hold her own against a slayer as experienced as Buffy. Though it is never stated outright, it is reasonable to assume that her strengths lie in her ability to improvise and her emotionally driven fighting style. Basically, she’s a person who will use every tool in her arsenal to win, even if that means, for instance, throwing herself off a building so that her opponent doesn’t get what she wants.

By presenting Faith and Kendra as two extremes of this ideological debate, and then also showing that neither one of them is as successful at slayerdom as Buffy is, the show implies that Buffy’s balanced approach to fighting (and to like life in general) is the best. However, the nature of tradition is complicated by the later seasons. For one thing, the Watcher’s Council—the representatives of the traditional approach that Kendra follows—get blown the fuck up before they can do anything useful. This strongly suggests that the Council, and by externsion their tradition, is irrelevant. This idea is further underlined by Buffy’s ultimate decision to reject the Council’s tradition wholesale, and to create a new, Slayer-based tradition. It’s also reflected in her fighting style in the later seasons. Starting in season 5, Buffy begins to explore her slayerness in the context of the slayer line, and her training with Giles builds on that. It could be suggested that the tradition she is drawing upon in these seasons is that of the Slayers that came before her, not the watchers who tried to control them. This also serves as an in-universe explanation for why the fighting style from season 5 onwards looks so different (and so much worse) than what came before it. (Yes, I know there were new stunt doubles, but it works with my convoluted argument, so I’m going to pretend there’s some deeper meaning behind it.)

Anyway, my point in all of this is that while earlier seasons present the thesis that one should find a middle ground between tradition and innovation, later seasons suggest that embracing oppressive traditions is harmful. So while we should still draw upon tradition, we should always be critical of the kinds of traditions we draw upon. And Kendra, having been raised by watchers, relies solely on harmful and oppressive traditions, and is therefore at a serious disadvantage. Faith, meanwhile, isn’t hampered by the Council’s bullshit. While she doesn’t draw power from slayer-line mysticism like Buffy does, she still has the advantage of freedom from the Council and would therefore win in a fight.

However, this is a solely thematic view of things, and maybe proves less who would win in a fight and more who would win in like a philosophical debate. Also, Kendra was killed off before she could be developed further (insert my usual Kendra deserved better comment here). Of the three, she was the most victimized by the Council (because of course those colonizers would fuck over the black girl most of all). If she had been developed, and been allowed to process the fact that a bunch white people stole her from her parents and brainwashed her for the purposes of their personal gain, and that this didn’t happen to any of her white counterparts, I think she could have had a much greater understanding of the insidious nature of the Council than either Buffy of Faith. I also think that her interest in the slayer tradition would have surpassed Buffy’s. She is, after all, the traditionalist of the three, so I think she would be the most interested in finding a way to connect to the traditions of the past while separating that past from the oppression of the Council.

In other words, a Kendra that had been allowed to live past season 2 is quite possibly the most powerful slayer. But if we’re accepting the canonical versions of these characters (and not the headcanon that I just pulled out of my ass) I guess Faith would be the winner.

Anya or Oz

Oz is a great character and I totally get why people like him but Anya is more in line with my personal preferences when it comes to characters who are intially introduced as love interests, which are as follows:

Hot lady (I’m shallow, sue me)

Very funny (Oz is funny but Anya is the funniest character on the show and no one can convince me otherwise)

Is more than just a love interest

Now I feel like people might object to no. 3 in Anya’s case, because there’s no denying that Anya is criminally underdeveloped and is often relegated to the unfortunate position of Xander’s girlfriend. However, Anya has a Selfless and she has that scene in The Body, and she has clearly defined relationships with the other Scoobies (best demonstrated in episodes like Triangle). Oz doesn’t really have any of that. Like, he and Willow break up for like half a second in season 3, and in that time he’s just not on screen. That’s how irrelevant he is to anyone and anything outside of Willow. Also, the werewolf suit looks dumb, which I have to assume is why the writers did almost nothing with him being a werewolf until they had to write him out.

The point is, while both of these characters deserved more development, Anya still got more of it so I like her better. Also she’s a pretty girl, so I was probably going to choose her regardless (I may be shallow, but at least I’m honest about it).

Buffy + Tara

I am the no. 1 Buffy/Tara shipper because I like it when nice people are nice to each other. And yes, I recognize that these are two flawed, complicated characters, but I think that together, they have the potential to be one of the healthiest couples in the Buffyverse. This is mainly because their interactions with each other are always supportive and free of judgement. Buffy defends Tara against her dad and welcomes her into her family even after Tara puts everyone at risk. Meanwhile, Tara is pretty much the only character (except for Dawn, maybe) to immediately react with empathy and understanding to the revelation that Buffy is sleeping with Spike. I’m not saying that either one of these characters is always understanding and non-judgemental (okay, maybe Tara is, but Buffy definitely isn’t), but they’ve proven that with each other, they’re very good at communicating and empathizing, and just being what the other person needs, and I think that’s very sexy of them.

Also, they’d be really hot together, so I’m here for it.

[ioannemos]

anyway here are some thoughts™ on the latest episode of prodigal son

1. the eve plot line started with potential and went downhill fast and ended terribly and i hated it

2. WOW that was. rushed. i mean that was ugly... endicott’s staying over in the beginning of the episode and jessica’s making out with gil near the end... the case was a blur...

3. look. i never liked eve. i could sympathize with her, i guess, but i never liked her. i didn’t like her as a person and i didn’t like her as a romantic interest and i definitely didn’t like the way her relationship with malcolm went. i know malcolm’s not “”“”normal“”“” but dear GOD please tell me no one thought that was an okay or healthy way for a relationship to shake out. i spent the entirety of it staring at the screen in either bewilderment or discomfort and i honestly have a hard time swallowing that no one was like “hey perhaps you should, idk, get to know each other before jumping into bed? maybe?” if feeling like it’s weird people decide they’re ready to have sex with each other after one bombed date, feel free to call me a prude (in this culture i sure am!), but i really disliked their relationship, how everyone else seemed to think it was this great thing!, and how then they were all “oh no it’s over? but it was going so well 😢” when. he knew her for what? two, three months?? maybe?? and then she dies and he’s seeing her as an ~angel~ and i just... what the hell. no. that was a significant miss for me. that scene at the end? where i’m supposed to be heartbroken bc he’s so upset? i was cringing. a tragic backstory does not equal me giving a shit that she’s dead. and earlier when he was talking to the assassin about how she clawed her way out of a terrible childhood but was “good” like? what?? she lied and manipulated her way into an already suffering family to get information that would have serious repercussions on said family! she HAD SEX WITH MALCOLM for that reason! she GOT INTO A RELATIONSHIP WITH HIM! FOR THAT REASON! good people don’t do that! what the hell!

4. idk how long they’ve been planning the endicott thing but it clearly hasn’t been long enough bc holy crap does this feel like they went dumpster diving for a villain. i know, i know, they lost two episodes’ worth of c-plot to slowly build him up as a bad guy. that sucks. so does he. endicott is as three-dimensional as a cardboard cutout of a generic old white guy with a “HELLO MY NAME IS idk moriarty??” sticker on it. i hate him, not bc he’s evil, but bc he’s boring. oh the rich white guy who doesn’t get his hands dirty, never heard that one before...

5. guess what i’m still mad about the eve plot line. if the writers wanted me to believe she was a good person they needed to show it. “but abbie she’s a human rights lawyer!” cool! never saw her doing that. never saw her defending so much as a kicked puppy (being willing to be jessica’s lawyer doesn’t count, since she didn’t actually have to do anything). know what i saw her doing? lying and manipulating already hurting people, eyes wide open, knowing that what she was doing was going to hurt them more. and she did it anyway. and she was going to leave an apology note. she broke up with him via voicemail. eve was a lying, manipulative coward and if they wanted me to give a shit about her dying they should have shown her doing something worth giving a shit about

6. listen i feel like you’ve done something wrong when i was more hyped for the mid-season finale than the season finale and i’m more interested in the junkyard killer after all the radio silence than in endicott who’s definitely the worst guy ever no really guys he totally is

7. eve was a good character, with potential and hidden facets and personality traits that could have made her well-rounded if she’d lived long enough. eve was not a good person and you will not convince me otherwise. did she deserve to die? irrelevant. do i think it was a good time for her to die, show-wise? no. i think she should’ve had to deal with some consequences instead of being killed off to show how totally evil the evil bad guy is no really guys he’s totally evil incarnate but he doesn’t get his hands dirty he works behind the scenes like a spider in a web which makes him super scary right you believe us right he’s EVIL

8. if you think eddie’s ‘death’ wasn’t orchestrated by malcolm, gil, and co. all i gotta say is, bro, i don’t think we’ve been watching the same show

[theusurpersdog]

The Battle of Winterfell

Okay, I’m gonna be honest, I didn’t particularly care for this episode. I came into it so hyped, because Miguel Sapochnik was in charge of the most important episode of the series to date and he has yet to disappoint, but in hindsight I realized this episode was never going to work. Not that I disliked the whole thing, because there were some moments which I absolutely love, but overall this episode was poorly conceptualized and executed even worse. Below the cut I’ll explain why I disliked it, and how I think the show could have done better. . . 

First, I think this episode was poorly executed in the writing room, not by the actors, directors, and behind-the-scenes crew. Watching the Game Revealed for this episode shows just how incredible the crew behind this show is, and its a shame that all that excellent work was largely wasted by D&D. 

Visually speaking though, this episode was stunning. The shots of Drogon and Rhaegal against the sky, lighting wights on fire, is legitimately breathtaking. Arya’s parkour is also stunning. Miguel Sapochnik and everyone else involved really did not disappoint, as far as they could carry the episode.

To me, this episode failed on two fronts: its approach to characters, and its approach to the battle. 

Characters

The biggest problem this episode had, is that it approached its characters through the lens of the action, and not the action through the lens of its characters. While D&D promised many character moments, there was only one - the Hound deciding to toughen up because Arya was in danger. Otherwise, all of the “character beats” were slow motion shots of people reacting to the battle. Those moments, its important to note, do not come from scripting - those scenes were Miguel Sapochnik desperately trying to ground his action within the emotions of his characters. But these scenes fail to carry the emotional burden the episode needed, because they are entirely generic; that’s what I mean when I say D&D did not consider the action through their characters. None of the scenes in these episodes were written from the perspective of “How would Jon, Daenerys, Tyrion, Sansa, et al, react and how does that change our episode?”, they were all written from the perspective of “These are the exact events we are going to have, what room does that leave for character expression?” - and of course, the answer was very little. Arya’s plotline this episode comes the closest to personalized, and even that falls very short. Listening to the Inside the Episode, the idea behind Arya’s story was “what if we took away her characteristics, what is she left with?” which leads to more near death fake outs, but prevents any real character moments. They intentionally took her back to season one Arya, instead of incorporating 7 years of growth into her scenes. 

Compare that approach to a previous episode, Blackwater, written by George Martin. Every single scene in that episode (except the dude bro scene with Bronn that GRRM was forced to write) is designed to show you something about Stannis, Davos, Cersei, Tyrion, or Sansa. It was a battle written specifically to highlight its characters. The perfect scene to highlight this difference is Sansa in the Sept during Blackwater, vs Sansa in the crypts during The Long Night. Sansa was not written to be useless this episode; her line “I will not abandon my people” combined with the unaired scenes of her killing wights, is quite enough evidence that the intent of D&D was to feature her. Yet, in the finished product, its very clear that D&D really didn’t understand how to feature her; the scenes in the crypts are entirely superfluous, because they exist solely to include Tyrion and Sansa. Whereas in Blackwater, GRRM wrote the scenes to highlight Sansa’s leadership, kindness, bravery, loyalty, and compassion. She is not even included in the “battle” portion of the episode, but many of her very best lines are from that episode and its corresponding book chapters - because GRRM worked the battle around his characters, instead of D&D who worked their characters around the battle. D&D genuinely didn’t know how to include scenes in this episode that weren’t action, and The Long Night suffered greatly for it. The best way to fix this problem would have been to re-examine each scene from a character’s perspective based on their specific story arc over 7 1/2 seasons. D&D were too focused on the base concept of fear, on how everyone is just terrified of death personified, that they forgot each character has their own story. Like I previously said, only the Hound has a scene like this, where we understand his specific reaction based on his specific story arc. 

This episode also failed to incorporate its characters even when the action called for it. While my above complaint is that D&D couldn’t look outside the action to make room for characters, this one is similar but slightly different - even when the action would have been greatly improved by individualized character beats, D&D chose to ignore that in favor of straight battle sequences. The obvious example of this is Daenerys, and her complete ambivalence in the face of Viserion. The only time her character was allowed to influence her scenes this episode, is when she as a Khaleesi decided she could not watch her Khalasar slaughtered; and the only reason that was included, was an excuse to get the battle rolling as D&D envisioned it. But wouldn’t dragon vs dragon content in this episode have greatly benefited from an emotionally bereft Daenerys? I am far from her biggest stan, but it is truly a slap in the face to pretend as if one of her dragons dying, and then being brought back to try and kill her, would not almost kill Daenerys. The dragons are her children; she looks at them and sees herself reflected back, both the good and the bad. Her self worth and importance is tied to them. To not only lose one, but to see it turned against her, is a scene literally begging to be about Daenerys’ loss. And yet, her emotional connection to Viserion is completely irrelevant to her battle with the Night King.

The previous complaints I’ve had with this episode were all things I think would have been relatively easy to fix within the episode itself, but the next problem I have has been building since season one, and was probably unfixable by season 6. And that problem is of Bran, Jon, and the Night King. Obviously I don’t know what GRRM’s plans for the Others are, but I am very sure Bran is at the heart of it. Don’t get me wrong, it was amazing to see a Stark defeat the Night King; but, if we are being honest with ourselves, it was the wrong Stark. Since the start of the series, when we see the Night’s Watch deserter executed through Bran’s eyes, he has been the narrator of the Others. Yet for some reason, D&D made the decision in s1 that they weren’t going to include Northern Mysticism, or Bran’s more supernatural elements. They pretty much eliminated Warging from the show completely (which is entirely unthinkable in the books). By cutting Bran off from his plot with the Others, they filled his role with Jon. Now, Jon is very connected to the North and weirwoods and that sort of high fantasy element, but he is not connected to the White Walkers directly. Jon Snow has never even faced a White Walker in the books, compared to his show counterpart who has had run-ins with the Night King since s5. By making Jon a much more stereotypical Action Hero, they’ve already gutted what the White Walkers are in the books. Once they left Bran out of s5, there really was no going back. To me, its obvious that at some point midway through the show, D&D realized from GRRM just how important Bran was to the fight against the AotD, but it was too late to do anything about it. So Bran being in the Godswood, after an extremely vague explanation of why the Night King wants to kill him, was their desperate attempt to pick up the pieces. That left D&D with only one other option for taking out the Night King - shock value. They literally say as much in the Inside the Episode. All of the above doesn’t even mention how big a problem the Night King existing at all is, but it is a huge problem. The Night’s King, from the books, is not some all powerful figure; he is a man, who made a very stupid choice out of love. The Night’s King story is a deeply personal tale, which most likely revolves around a Stark, which ties the story back to our main characters (specifically Bran). By changing the Night’s King story into one centralized White Walker villain, they took away all the personality of the White Walkers while simultaneously pinning the entire narrative onto one character (which can only lead to an unsatisfactory ending). 

The Battle

Now that I’ve explained why I dislike the character element of The Long Night, lets break down why the battle itself falls short. . . 

They played this way too straightforward. If they weren’t going to ground this episode within emotional stakes and payoffs, they had to be way more creative within the battle itself. I know Dan Weiss gave his “reasons” for not including Ice Spiders, but they were stupid (for anyone who hasn’t seen the article, he said they didn’t think they could animate giant spiders well); Lord of the Rings came out more than 15 years ago and Shelob was very well done, and you’re telling me that Game of Thrones couldn’t pull them off?

Ice Spiders isn’t the only thing they could have done though. GRRM’s story is some Cthulu level horror and heavy metal stuff, and D&D should have embraced those elements. The shots of the dragons fighting worked so well because it was a visually new experience, but D&D scripted way too much melee fighting to be the backbone of the episode. Sapochnik did the best he could to make it stimulating throughout, but as an audience this can only be entertaining for so long. And D&D were obviously very attached to making this episode feature length, regardless - what I’m saying is, an editor needed to be more involved in the final cut. 

[drink-n-watch]

These opening paragraphs are always the hardest part for me. Once you get into the review you can weave your thoughts through a recap of the episode and everything falls into place. Here, I have to come up with something all on my own. It’s a little intimidating. Thankfully, I can always count on my esteemed collaborator. Hi Matt, how are you?

Too much pressure, Irina! I’m fine, hope you’re well too and all our readers as well.

Actually, before we fall into it, how pumped were you to see Yayoi? Cause I was mega super pumped. I always loved Yayoi and she looked amazing with her hair down. I gotta say, season 2 must have been something. Everyone seems to have had some sort of happy ending, whereas to me, Psycho Pass had always ended on a rather bleak note with most of the cast scattered and/or hopeless but the system intact.

But I digress. Yayoi!

Yeah she’s pretty cool, I guess… Nah, you’re right, it was great to have her back!

So Yayoi is back because reasons and she’s going to help our ragtag team of  law enforcement officers while looking mighty fine indeed. We find out that some organisation, possibly to do with Enomiya is smuggling criminals in as dead bodies since the cryo sleep hides their hues. I really liked the idea although considering the rest of the episode, I’m still a bit fuzzy on the necessity of this. Seems risky, complicated and expensive when aggressive body guard robots are available. I honestly missed the set up here, Matt, can you help me fill in the blanks?

Maybe it’s cheaper to get humans to act as muscle than it is to build and program a bodyguard robot. The robot did seem pretty useless aside from being able to take a beating, not very nimble and not very smart either.

Smuggling and paying humans is definitely not cheaper, but just as useless!

Right off the bat, and throughout the episode, the enforcers had a pretty strong presence. It wasn’t just a Kei and Arata two man show (I mean technically Kei is still suspended so it can’t be). I really like how they are slowly and organically developing the supporting cast. I hope they keep at it, I feel like a strong ensemble can really elevate the series.

I agree, the more they keep building the ensemble cast the tougher it’s going to be when one of them dies (I mean it’s bound to happen sooner or later right?)

We are back in the heat of the political race only this time, it seems it’s Karina’s turn to be worried. After a visit to the late Dr. Tsuchiya’s office, Arata learns Karina’s secret, that she’s been using a hologram AI to help her during public appearances – a bit like lip syncing her campaign, and it seems someone out there wants that secret to be revealed and is not afraid to use underhanded means.

It’s an interesting way to use AI, though you gotta wonder how much of it really had a point, seems like having an AI feeding you a speech through an earpiece would be a lot easier and less open to be discovered and achieve pretty much the same results.

I have to say, I find the AI’s name “Ma-Karina” kind of hilarious. Possibly cause I’m 4 and just started singing the Macarena every time I heard it! Also, the necklace that Karina uses as a switch for Ma-Karina was very pretty. It sort of reminded me of Griffith’s Egg of the King, and considering both their significance in the story, the symbolic parallels are pretty cool.

I laughed at that too, we’re both children, apparently!

With the reveal of Tsuchiya’s personal AI and his involvement with Ma-Karina, we got even more neuroscience speak. Such as the relative metabolic need of the human brain and a short lesson on decision fatigue. Arata even mentions that humans aren’t great at thinking which is not completely false. We do tend to find every shortcut possible to reduce our decision making whenever viable and we fall back a lot on things like pattern recognition. This must affect our hues! It really does seem like season 3 is trying to weave in a bit of neurology through.

I absolutely love it but it’s not for everyone. Matt, you mentioned last week that to you this element felt tacked on and stand offish, do you still feel that way or do you think it was better integrated this week.

It was fine, there was almost too much else going on for me to really focus on it one way or another.

I’m o.k. with Kei’s roguish actions. He comes off a bit like a hard nosed cop trope in an action movie but I kind of like it. Once again, despite his suspension, Kei seems to be in the heart of the action. Going to watch Karina’s speech and calling in a potential disturbance. This means he’s right there when Karina gets kidnapped by…guys… And I mean right there. Like he swoops in to punch a guy out of nowhere when everyone else seemingly disappeared. To me Kei’s presence and interventions this week were just a bit too convenient. Ok Matt, tell me why I’m wrong.

Most of the action in this episode kind of felt a bit flat for me, from the staging to certain conveniences in how our ‘heroes’ were able to be where they were and do the things they do. It almost felt a bit Hollywood action-y, like it was less about the logic and more about the spectacle and even then the spectacle wasn’t that spectacular.

All of this is happening is some large event venue, a stadium of some sort, where the candidates were having a televised debate. Yakusiji got in a fight with one of the abductors and we didn’t see what happened to him while Karine got dragged off into another part of the stadium where the baddies are trying to force her to make a televised confession for the use of Ma-Karina. She refuses and her manager somehow bursts in, closely followed by Kei. Meanwhile the rest of our heroes have arrived and are making their way through the place.

And Yayoi is wearing stilettos! This may seem like petty nit picking but as a girl who wears high heels just about every single day, and pretty high ones at that, I know that you only wear stilettos if you want to look good and not necessarily move at all. In fact not even stand for too long. Those things hurt! Yayoi never ceases to amaze.

If anime has taught me anything it’s that women can wear anything–no matter how impractical–and still pull off amazing feats, make of that statement what you will feminists!

?

Anyways, stuff happens. Karina tries to escape and ends up on some high walkways being chased by this huge thing. Arata finds her somehow, and saves her at the last minute. Also Kei and the enforcers are there. Everyone’s fighting. The big guy turns out to be a robot. Enomiya’s robot bodyguard to be exact and I’m really wondering why they didn’t just use him instead of smuggling people. And then the good guys win, hurray!

Karina is saved and although her secret was in fact revealed she held on to her pride and didn’t make any sort of public confirmation. Meanwhile it turns out Yakusiji is just fine and he knows what’s going on but unfortunately he only told the officers and not the audience.

I believe the plan was to simply discredit Karina by leeking the existance of her AI to the public but I’m not sure why it had to be done via kidnapping during a televised speech. I guess the idea was that she would then lose the election and considering Enomiya’s part in everything and their connection to Heracles I suppose we could imagine they wanted him to win? I’m really not sure about any of this though. It’s mostly assumption. This part was a bit messy to me. I’m sorry Matt, I’m going to need your help again.

… I don’t know either, this entire middle section felt like a lot of things happening where nobody (not even the characters in the show themselves) knew why things were happening or who was really responsible but at the same time they didn’t seem to mind and just kind of got on with their days? It’s entirely possible we both missed something obvious and we’re just big dummies–I’m sure the comments section will tell us…

After the plot gets foiled Enomiya wisely decides it’s time to make themselves scarce and attempts an escape but is stopped by Azusawa. Now the Enomiya has outlived their usefulness, they have become a liability and Azusawa is there to tie up loose ends. I thought this guy was a hacker or something but it seems I’m way off. He’s an inspector so I guess it does make sense that he would be in good shape but I didn’t expect him to just easily beat the all time champion like it was nothing.

Well the impression I got was that Enomiya had been out of the game a while and was just using their status to intimidate people, obviously still capable of throwing down when needing to, but not when faced with someone with considerable strength and dexterity of their own. 

To be honest, I really didn’t bond with Enomiya at all. I just didn’t care about the character at this point so to me this part was a bit long. I would have been happy if they just dealt with it off camera and gave us the jist in some tidy little exposition blast. Maybe have Arata read it off an incident report. I would have preferred to see more of the Division 1 crew instead. Did you like it Matt?

I mean, it was fine, I absolutely understand why this series of scenes was here, we were given enough of an introduction to them in the previous episode that killing them off screen kind of would have been like “then what was the point of all that?” so in that respect I didn’t have any problems with it. But I can understand where you’re coming from, I feel like if this show was 23 minutes instead of double that having it resolved as an incident report would have been fine and a way to save screentime but considering how long these episodes are it felt ~somewhat~ necessary.

I personally disagree. Just because an episode is longer doesn’t mean otherwise irrelevant scenes suddenly become necessary.

And the, the election is over. Just like that. 5 second scene… I was all like whaaaaaa. But…huh…. Karina won by the way. No one cared that she was using a fake brain.

That didn’t bother me either, but I kind of liked how quickly they dealt with it, it’s kind of like how real politics feel all this build-up in the campaign that all ends with some numbers on a screen and someone new being in charge that doesn’t really change all that much in the grand scheme of things. The pointlessness of democracy in a peaceful society.

Obviously Bifrost was actually behind all this but why? Not sure. As far as I can tell it wasn’t to influence the outcome of the election. There were way easier ways to do it and Karina was likely to win anyways so they could have just done nothing. The main and possibly only goal was to not only reveal the existence of Ma-Karina but also show that it didn’t matter. I wonder where this is going. Or am I off track again? Not gonna lie, I had some trouble following this episode.

Bifrost to me is just a bunch of super powerful, super wealthy people pulling the strings on a level so incomprehensible to the layperson that they might as well be gods. Seems like they’re ‘betting’ on the outcomes of various things for their own benefits–and playing with the lives of the people in this city like they are poker chips on a board. It’s intentionally vague and oblique–at least that’s how I take it.

Also Kei isn’t in trouble cause the chief sneaky ended his suspension 5 minutes before he got involved in the case and didn’t tell anyone.

One thing I really did like is that Arata and Kei have very compatibility according to Sybil (and with their background it makes sense) but they decided to partner up anyways. Their relationship really does continue to be the strongest part of the show for me.

Any closing thoughts?

You only went and missed my favourite part of the episode! The conversation between Arata and Karina in the glass ferris wheel was fantastic, small moments like this as supremely smart people–one in a position of newfound power–confines in another about things like their own nature and what politics really means in a world like this was great. I couldn’t help but feel a strong sense of intimacy between these two, which makes sense since in Episode 2 Arata compared her to himself in saying they were so much alike. I’m calling a romance subplot already! Also the colour and lighting in the scene was stunning, hey look Irina I mentioned the colour of a scene in an anime, are you proud of me?!

Yeah – I almost fast forwarded through that. My least favourite part of the show so far. The colours were a good clash to the colour story so far but all in all rather uninteresting. If there is a romance subplot, I’m not sure I’ll stick it out with this show.

I honestly didn’t like this episode much. The action was a touch drawn out, a lot of scenes seemed a bit contrived and the pacing was off, stretching certain moments past my interest and condensing others into confusion. This said, as I mentioned, I did get a bit lost a few times so it really may just be a me problem. I also don’t particularly like the softening of Karina’s character. I thought she was an invigorating antagonist that could have created some fantastic conflict .

I never really saw her as an antagonist really (maybe in the first episode she appeared) she seemed to fall somewhere in between. I thought this episode was great, weakest of the four so far thanks to the middling middle section which stretched credulity and my patience but still you could do far worse so I’m still happy!

This said, I still didn’t find the show too long despite double length and was (and remain) really interested in the overall story and what exactly is going on here. I’m looking forward to next week.

Psycho Pass s3 ep4 – Election These opening paragraphs are always the hardest part for me. Once you get into the review you can weave your thoughts through a recap of the episode and everything falls into place.

[nemetonisevilpassiton]

Is Teen Wolf Lovecraftian?

Is Teen Wolf Lovecraftian?

Yes, very much so.

Why?

To understand if Teen Wolf is a Lovecraftian horror we need to start by defining our terms and providing comparisons. Lovecraft stories directly made into movies as a whole are just bad, and most video games too. However, using Lovecraftian ideas and tropes creates a successful narrative in most cases.

Several things define the Lovecraftian horror experience.

Isolation both mentally and physically

Lack of character information which is replaced by character reaction.

Lack of information about the world in which the protagonist finds themselves with a penalty for discovering that information.

The revelation that that which was formerly known is now revealed to be unknown and the consequences thereof

Fear of the unknown, specifically the previously thought known

Body Horror, specifically bodily transformation, from which there is no reversal

The insignificance of the subject in regards to the whole

These look specifically vague and you can apply them around a lot, and people do, but you might also notice a lack of tentacles there.

So before we turn this on Teen Wolf let’s present an example that you can understand the points in question

John Carpenter’s The Thing (1982)

A group of men in an Antarctic station inadvertantly let something other into their base.

Interestingly the least Lovecraftian thing in “The Thing” is the thing itself, and wasn’t that a fun sentence to write.

The Americans [as opposed to the late Norwegians] are already at breaking point, isolation - caused by the weather, their close proximity to each other, boredom and exhaustion have taken their toll, they are a brush fire just waiting for a spark, and that spark is the thing. It is not the spark because it’s hunting them down, because that seems almost incidental in it’s desire to just survive and hide despite it’s otherness, it’s the fact that any of them could BE the thing. I’m going to start calling it the alien - it sounds less like I’ve forgotten the word. This will probably cause problems when I move on to Alien (1979) in a minute.

Combined with that Carpenter uses long empty tracking shots (a technique he used in Halloween [1978] ) which creates a voyeuristic feeling which removes the safety of the base. The way that it works matches “The Strangers” (2008) which removes the feeling of being safe in your own home. The rich white affluent suburb with it’s white clapboard houses and wide green open spaces is invaded by “the shape” as he is called the in the credits, and those shots, in which nothing happen, makes the space unknown and terrifying for it. It removes the illusion of safety.

We know almost nothing about the men in the base, we become invested in them not because of what they are but who, they are charming, funny, tired, and very realistic but it becomes hard to remember their names because those things are ultimately irrelevant. Combined with the discovery of the space ship those men are irrelevant, what they undergo is irrelevant, no one is on the other end of the radio, they will not be saved and their deaths serve no purpose. They and their experience doesn’t matter.

In Ridley Scott’s Alien (1979) does the same thing, a random ship encounters something vast and unknowable and is infected, the Xenomorph then picks off the crew for no other reason than to continue it’s own species, it doesn’t choose them for any other reason than they are there. The robot’s betrayal makes them even more meaningless, any ship that encountered alien life would do, it just happened to be that one.

The presence of the Xenomorph makes the ship unknown, it could be anywhere. At first they think it’s something small and don’t learn otherwise until face to face with it. They have to use technology they don’t quite understand and can’t really use to find it in their own safe space. A safe space surrounded on all sides by absence - space itself. All the things on the ship which previously gave them safety, the machines that allow them to exist on the ship, are now dark places for it to hide. 

In Dario Argento’s Suspiria (1977) - the only film not to have aliens - Suzy goes to a place that is grotesquely beautiful and just happens to be in the next room to the girl who is investigating it, when that girl goes missing she looks for her and discovers the old witch and kills her to save her own life. 

Yet Suspiria, which might be the most Lovecraftian film of them all, has no exposition, most of the characters aren’t introduced, and the movie is mostly experiential, maggots rain from the ceiling, but we don’t know why, the witches are killing the girls in the academy but we don’t know why, instead we have a lurid oversaturated nightmare of a narrative where the dance academy swerves from mundane to brightly lit Roger Corman-esque interior design fantasy. It is a building that if Ludwig II took acid he might design using only primary colours, art nouveau doors, blood red walls and corridors that seem to ooze menace without doing anything, overlaid with Goblin’s infamous soundtrack. Combined with that the actors filmed the dialogue in their own language and English was dubbed over so the characters are not really communicating. 

Suspiria is as close to reading Lovecraft (without the racism) as it is possible to get. And it does also feature body horror when Sarah is resurrected by the witches to act as a weapon, despite her slit throat and the pins in her eyes. It is a nightmare on film.

It is also not a film you watch. It’s a film you experience. [The remake is good but very different and not so Lovecraftian, although most of the characters are played by Tilda Swinton, it’s really squinting are you Tilda Swinton too?]

So having given defintions and examples of what it is - does Teen Wolf fit.

Isolation both mentally and physically

It is impossible for the characters in the know to leave the town, and even if they do then they must return.

We see Scott try to leave twice, once in Motel California and again in Ghosted. Both times they enter a phantasmagoric town which is certainly not the outside world. Other characters are taken by the Wild Hunt. Derek Hale manages to leave, but only after “evolution”.

His trips to Mexico are also phantasmagoric in that it is hard to say that they are not dreams, the Calavera stronghold for example uses a lot of dream logic and wonky camera angles giving the idea that it’s not real. La Iglesia does this as well.

Within the town there are those who know and those who do not. Those who know flock together but have to keep their secret from those who don’t. So Scott doesn’t tell his mother until season 2, Stiles doesn’t tell his Father until 3b, Lydia is still trying to tell her mother in s5.

Characters unaware of the knowledge that others know are completely isolated, without anyone to go to, which usually ends in violence, often against themselves - the Chimera.

With as much as the main characters know it is clear that they know very little about the town, as shown by the family of wendigo who were part of the community.

2. Lack of character information which is replaced by character reaction.

We know almost nothing about any of the characters. We know how they react and how they interact, and how they change, but their histories are completely absent. This is as true of the main characters as it is the victims who only appear in one episode.

3. Lack of information about the world in which the protagonist finds themselves with a penalty for discovering that information.

People know nothing, research can present viable answers which are later proven wrong, characters guess in good faith and are wrong, characters lie, but ultimately they know very little about the world in which they’ve found themselves and those who do know often withhold or manipulate that information.

An easy example is Damnatio Memoriae in which Scott discovers what he believes to be the identity of the original Beast, a serial killer in France, who has nothing to do with the Beast at all. It’s a coincidence that the term has been applied. The knowledge is irrelevant and Scott is left with no more information about the Beast than he did at the start, then the person who does tell him, in Maid of Gevaudan, is Gerard and has every reason to lie, and that’s assuming his guess was correct.

The more characters know in Teen Wolf the more likely they are to end up in Eichen House, and Dr Fenris, in 6b, with the information he has, becomes a mass murderer.

4. The revelation that that which was formerly known is now revealed to be unknown and the consequences thereof

The town is a supernatural hotspot and the revelation of that is the entire plot. I think we can agree that that one certainly applies. Combined with that the use of “safe spaces” as battlegrounds, such as the school, the school bus, the sheriff’s station.

5. Fear of the unknown, specifically the previously thought known

Dr Fenris killed the monsters in his care, the Sheriff nearly has a nervous breakdown with the appearance of the chimera, the possession of Stiles and Scott’s reaction thereafter. These all very much apply, even Stiles fear when Scott attacks him in the locker room in pilot. The more people know the more scared they become.

Traditionally in horror the less people know the more they have to be scared of, but in Lovecraftian horror they know enough to fear it, but not much more, often the creature, by its very existence can induce fear (like the Anuk-Ite) because it is so outside the realms of what the human mind can comprehend.

6. Body Horror, specifically bodily transformation, from which there is no reversal

Werewolves. It is worth mentioning here however that there are anomalies in the transformations, almost all of the werewolves speak of pain during transformation, and Derek uses pain to help control it by overwhelming them with pain, but Scott does not. Just as the protagonist in “The Dunwich Horror” finds himself turned into a fishman there is an inevitability to the transformations in certain cases. Derek is on a path to his inevitable evolution. Scott’s natural evolution is subverted, this might be because he never transforms after his black eyed beast form in season 4. His fear of his transformation holds him back from his inevitable end form, yet there is no way he can be human again, no matter how much he wants it.

7. The insignificance of the subject in regards to the whole

Scott is not important because of who he is. He’s important because he happened to be the person in the wrong place at the wrong time. He is incidental to most of the story despite him being the focus character, the world doesn’t care about Scott McCall, it is interested in the True Alpha, but that could as easily be Chuck Norris. Scott isn’t even the true alpha by virtue but for reasons we do not know, Deucalion had no interest in it, Peter thought it was hilarious, Morell manipulated it to save her own life and Deaton worshipped it. Others use it as a target. When Scott says, “I’m a true alpha you don’t know what I’m capable of” it defines the character. Kincaid tells him he’s not as strong as a normal alpha. There are questions around his biting of Liam. Scott is not the Chosen One, he’s the one that was there and that’s ignoring his questionable behaviour and the very strong argument that he is a villain, and that his narrative was one of fallen messiah and not the hero’s journey.

Frodo was not the Chosen One, he was the guy who had the ring, and many of his successes are because of his party of companions, but Frodo’s quest, which he fails, is of world ending importance.

In Scott’s case, he again succeeds mostly because of his companions, though, unlike Frodo, he is unaware of this, he is not throwing the ring into Mount Doom to defeat Sauron, returning the ring to the jeweller because it needs resized, and might pick up some milk as well while he’s in the area.

So in conclusion is Teen Wolf Lovecraftian = yes

Does it fit the criteria laid out by works accepted to be Lovecraftian = yes

Does it follow the conventions of similar Lovecraftian works = yes

Is it the Lovecraftian conventions spread over such a large scope that cause so much dissatisfaction in the audience = yes

Almost every point in the list is something I’ve seen people complain about, we don’t know about this, we know nothing about that, that makes no sense, I think this episode would make more sense on hallucinogens etc

It is a well written Lovecraftian nightmare, it uses variant realities and isolation, suspicion and distrust well = but it tells us nothing, resolves very little and has a main character who could deliberately be replaced with a well meaning bag of sand.

But at least there were no tentacles.